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Showing posts with label audio. Show all posts
Showing posts with label audio. Show all posts

6.01.2008

Quiet On Set

Wired.com is featuring an article about the ever-increasing level of man-made noise pollution, and its impact on the biosphere. Snip:

Krause has a word for the pristine acoustics of nature: biophony. It's what the world sounds like in the absence of humans. But in 40 percent of the locations where Krause has recorded over the past 40 years, human-generated noise has infiltrated the wilderness. "It's getting harder and harder to find places that aren't contaminated," he says.

From a filmmaking standpoint, it's becoming nearly impossible to find an area completely devoid of background noise. For Car Trouble 2: Them's the Brakes, the first project I ever did audio post for, the director and I drove four hours in every direction over two days to try to get some clean background tracks (or atmos, for those of you across the pond) and came up empty handed. Ultimately, we ended up looping nearly every line, and creating the remaining sounds from scratch using library tracks, recorded years ago when you actually stood a chance at getting a clear recording.

Please to enjoy (bear in mind, that in addition to being my first post outing, that it was also mixed in Final Cut Pro 3, a blunt tool for audio):




Link to Wired article.

5.29.2008

Whosiwhatsis and the Thingamajig

Skylor Morgan has another post up at Trew Audio entitled Secret Jargon. Snip:

Little did I understand, very few people use technical names, but if I want to serve the customer better, I’d better learn their language. Imagine my thoughts when I first heard, butt plug, clown nose, juice can, furry, cat, coily, viper, vampire, etc. So this is my homage to jargon. I hope you enjoy.

Link.

For the more etymologically inclined, you may want to check out Strike the Baby and Kill The Blonde: An Insider's Guide to Film Slang.

5.28.2008

I'm Your Density

Found this great clip demonstrating the differences between variable area and variable density optical film soundtracks. Please to enjoy:



Via Filmmaker Slog.

Slog Blog

Filmmaker Slog: in the cloud is a blog by Mike Peter Reed, about many things but primarily production sound. The sub-title: "Making a good film is hard work; making a bad film is hard work."

Yep, it surely is.

Link.

Pay Attention To the Man (or Woman) Behind the Curtain

Good morning, true believers.

Been busy, which is good. I recently mixed my first fishing show, which was far more enjoyable for me than actual fishing. In addition, our expert guides provided an amazing lunch of teriyaki salmon steaks with rice pilaf and a dessert (!) not too far removed from tiramisu, right there on the bank of Deschutes River.

So yeah, we roughed it...

Back to the ongoing world of sound: a little while back, Editors Guild Magazine ran a piece about dub-stage engineers, the un-sung MacGyvers of film sound post. Snip:

The dub stage engineer, which is the most prevalent engineering post at the major studios, handles all of the console set up on the stage before each final mix. They confer with the mixers, sound editors, recordists and others in the sound department to determine exactly what materials will be brought to the stage, how many consoles will be required, how many tracks will be brought in, and what sample rate and frame rates will be used.

They then set the board up to enable the re-recording mixers to input those tracks and work––hopefully glitch-free––to mix them out to their ultimate deliverables...

Engineers are needed not only on the dub stages, but in sound editorial and on the ADR, Foley and scoring stages as well. It’s all about client service, especially at the major studios. Put simply, a good engineer must be able to repair anything, day or night, and have the necessary intuition to know where the problem is likely to be located.


Link.

Thanks FilmSoundDaily!.

4.30.2008

The Sound Cart

Hey, kids.

Be sure to drop by veteran mixer Phil Palmer's blog The Sound Cart. Recently, he posted a series of photos of his new cart that he had custom built.

Currently, I rent a beat-up old Magliner cart when I need one. It's cheap and it gets the job done, but it certainly isn't the most elegant of beasts. Down the road, when I'm (hopefully) doing more feature films, I'd like to put one together myself. Seeing photos of setups like Phil's makes it easier to visualize what you may need in the future.

Link.

4.28.2008

Coffey Audio Files Spring '08 Now Available...

...as either a PDF download, or sign up to receive a hard copy via snail mail.

Link.

4.27.2008

Footnote

Whilst enjoying a sumptuous Sunday brunch here at the offices of sync.sound.cinema, I happened upon this great clip about the trials of foley work from the movie Modern Romance (via FILMSOUNDDAILY!). Please to enjoy:



(My favorite line: "We've got Heaven's Gate, the Short Version in here at 8.")

4.23.2008

This So Totally Happened On My Last Gig

Talk about a tough day on the job...

4.21.2008

"The Hitler Bottle" (No, Not the One With His Brain...)

Found via jwsound.net:

NPR's All Things Considered recently profiled John and Mary Peluso of Peloso Microphone Lab. Snip:

But unlike some of their rural neighbors, who may rise before dawn to cast their lines in the local creek, this couple rises early to meticulously assemble microphones by hand. The Pelusos' microphones are modeled after some of the world's legendary mikes, but at a price more affordable for today's musicians.

The Pelusos are part of a boutique microphone-making movement — an effort to inexpensively replicate the look and sound of classic mikes. Peluso microphones have been used to record the Mormon Tabernacle Choir, the bluegrass band Blue Highway and the Roanoke Symphony Orchestra, among others...

As a recording engineer, [John] eventually worked with all the classic RCA, Sony and AKG microphones, and particularly the German-made Neumann mikes. But it was when he went to work for a mysterious physicist named Verner Ruvalds that he learned about what he calls the "black art" of making microphones...

Ruvalds had helped produce the Neumann bottle mike, designed in 1928 by Georg Neumann, and considered a technological breakthrough. Neumann took the old carbon-grain broadcast microphone, which uses bits of carbon sandwiched between two plates, and turned it into a mass-produced "condenser" microphone, which has one fixed plate and another that forms a diaphragm moved by sound waves...

The Neumann mike — the CMV3 — was so widely used by the Fuehrer and Nazi Party leaders that it acquired a nickname: The Hitlerflasche, or the Hitler Bottle.


Be sure to listen to the full story, which includes recording samples made with Peluso mikes.

Link.

Trew That

Skylor Morgan of Trew Audio has posted a series of video tours fresh from NAB in Vegas, and no, they're not tours of strip clubs (unless the quality of audio gear in strip clubs had dramatically increased lately...which would be a surprise to me, because I certainly wouldn't patronize such places. Ahem...).

Link, courtesy of trewaudio.com

4.15.2008

Eight Is Enough

Alas, your fearless reporter could not swing the funds to make it to NAB this year, so the staff here at the offices of sync.sound.cinema will be furiously combing the internets as relevant product announcements trickle out. First up, something on many a mixer's wish list: Sound Devices Introduces 788T 8 Track Field Recorder. From the website:

Designed specifically for multi-track on-location productions, the eight-track 788T features a significant expansion of input and output capability—eight full-featured microphone inputs and eight tracks of recording. The eight inputs, together with a thoroughly revised digital architecture, provide unprecedented recording flexibility...

To accommodate the larger data storage requirements of multi-track recordings, the 788T comes equipped with a 160 GB 2.5-in. internal SATA hard disk drive. This on-board storage provides up to 30 hours of 8-track, uncompressed 24-bit audio recording of industry-standard Broadcast Wave files. Additionally, CompactFlash cards with UDMA support and external FireWire mass storage volumes can be used for recording and playback. All three storage mediums can be selected for simultaneous, redundant recording.


Street price: $5995

www.sounddevices.com

4.07.2008

Lav Is a Battlefield

Hello, Cleveland...

Dan "The Man" Brockett has come through once again with a stellar article comparing 16 lavaliere microphones, along with recording samples of each. Snip:

Often referred to as a "lav", lavalier microphones are a category of sound gear that is often overlooked and taken for granted by those new to recording sound for picture. When you consider how many models of lavaliers are available, it becomes a considerable challenge to make an intelligent choice about which lavalier you should use in a given situation. If you speak with professional sound mixers, they often have a favorite manufacturer and model of lavalier that they like to use, but why? Based upon my experience, lavalier preference almost seems like a birthright, passed down from generation to generation, but if you are not a professional sound mixer, how do you know which model best suits your needs?


But my fav quote has to be this:
The lowest cost XLR cable will always have better sound quality than the most expensive wireless microphone system.


Amen to that. In my experience, people unfamiliar with audio tend to be blinded by the notion that wireless transmitters are somehow "magic". While they can be indispensable tools, they come with their own caveats.

Link.

4.05.2008

Premiers Bruits

Via First Sounds:

A group of researchers has succeeded in playing a sound recording of a human voice made in 1860 – 17 years before Thomas Edison invented the phonograph.

Roughly ten seconds in length, the recording is of a person singing “Au clair de la lune, Pierrot repondit” – a snippet from a French folksong. It was made on April 9,1860 by Parisian inventor Edouard-Leon Scott de Martinville on his “phonautograph” – a device that scratched sound waves onto a sheet of paper blackened by the smoke of an oil lamp...

The essence of the Berkeley technology, which was developed in collaboration with the Library of Congress, is to apply non-contact digital imaging to any material containing a recorded “groove”. The imaging results in a digital representation of the record which can then be played on the computer with a virtual stylus. Being non-contact, the technology protects delicate samples from further damage or degradation. This approach has been used successfully on many phonograph discs and cylinders,and its application to the phonautograph recording was a straightforward extension. It is novel however that the phonautograph recordings were never meant to be played.



Listen.

www.firstsounds.org

3.19.2008

When It Rains, It...Well, You Know

Apparently, I have been living under a bigger rock than usual.

Right on the heels of the Zaxcom Fusion* come two other combo units, both from legacy names in the film sound biz and all aimed squarely for the same market.

First up, the Nagra VI. The Kudelski folks enjoy a well-earned reputation for pretty much defining modern production recording with their 1/4" reel-to-reel decks. I'm embarrassed to admit I've never used one myself, but from all accounts, they were built like tanks, if tanks were built like beautiful watches. Snip:



It offers six independent analogue audio inputs. Inputs 1 - 4 are equipped with traditional NAGRA microphone pre-amplifiers for dynamic and phantom +48V microphones...
The NAGRA VI records to a 120GB internal 2.5" hard disk. An extractable compact Flash card is used to record a copy of the audio tracks depending on the users track selections. The NAGRA VI allows approximately 20 minutes of 6 track 48 kHz 24-bit recording per GB of available disk / card space.


Next, the Sonosax SX-M32. A fairly common name on the audio cart, Sonosax won a Techinical Achivement Award for creating the SX-S in 1983, a veritable workhorse mixer for film recording. Their foray into the ENG/EFP looks just as interesting. Snip:



# Electronically balanced Mic/Line Input, XLR connectors
# 48V Phantom for Mic power
# Pre LF Cut for rough wind conditions - PAD - Phase reversal
# Input trim on the front panel for easy Mic Gain adjustment, retractable
# Sweep LF Cut, retractable
# Mix routing by PAN Pot
# Stereo and MS linking of channel 1/2 - 3/4 and 5/6
# M/S Decoder
# PFL for rapid channel monitoring
# Limiter on each channel
# Stereo AUX Input assignable to the MIX or to Track 7&8
# Electronically balanced Line Outputs, XLR connectors
# AES Digital Out, 44,1 and up to 192kHz@24bits
# Integrated 8 Tracks Recorder on Hard disk and CF Card, with specifications similar to these of the MINIR82


Since this writer is on the lower end of the Wechsler Scale, it thankfully doesn't take a genius to see that all of these units are clearly aiming for Sound Devices' territory: highly portable (ie "baggable"); rugged, high quality builds; four tracks-plus recording capability; and stereo mixdown for a camera feed. Here's hoping that the market opens up and prices come down a bit.

Links:

www.nagraaudio.com
www.sonosax.ch
www.zaxcom.com
www.sounddevices.com

*A Fusion sample is on its way here, and a review will be forthcoming.

3.06.2008

Petrol PEGZ-1F Eargonizer Audio Bag

Choosing an audio rig is about as personal as shopping for shoes. You need something both functional and comfortable. You need something that will hold all of your necessary gear securely while allowing unfettered access. And as with most things that blend the technical with the creative, the tool becomes an extension of the operator. A well designed bag and harness keeps things close and open, while bearing the load comfortably during a full day's work.



Those of us who do not have tentacles in place of regular arms will certainly appreciate the PEGZ-1F Eargonizer from Petrol. Petrol has enjoyed a well-earned reputation for making some of the more MacGuyver-style gear bags on the market; the 1F is no exception.

Essentially a re-design, the 1F has one critical difference: the cable access ports have been moved forward, away from the operator's body. Rather than having the mixer against you, it also is mounted forward, providing better ergonomic access for those who need it. (It must be said, for those of us out there who spend more time lifting pints than pounds, not having your meters blocked by a rolling gut counts for something.)


Observe, class.

The 1F is constructed of the same rugged blue ballistic nylon and high-visibility orange fleece lining as the rest of Petrol's product line. Upon first glance, the bag is identical to the previous model. It's only when you actually mount a mixer that you can see the well-thought out differences.

In addition to moving the mixer forward, there are also new triple d-ring mounting points across the top, allowing you more flexibility to rig the bag on a harness, distributing weight more efficiently. Trust me, after a 12 hour day bagged up and on your feet, your back will appreciate even the slightest comfort adjustment.


The new d-rings (not to be confused with E-Ring, which was cancelled due to bad ratings).

And finally, there is a larger, transparent window across the removable top flap. Not only does it allow you full visibility while keeping the bag's contents covered from rain and dust, it also had a dual-zippered system that can re-size the flap on-the-fly. The system can be configured to allow even the most ham-fisted of you to get both hands in the bag to adjust faders or change out batteries, all the while keeping the gear nice and dry.

The 1F keeps the other features that made the first one so useful, including a whole bag of hook and loop dividers and pads, allowing almost infinite variability to meet just about any configuration you may need. Smartly, the designers included two internal cavities sized for NP-1 batteries, keeping them out of sight and out of the way. The bag comes standard with two of Petrol's very nifty wireless pouches, that are designed to clip on the bag at a variety of locations, including the harness, should you need to move a receiver up the body a bit to gain clearer reception.


The super-secret battery compartments.


But the bag may not meet everyone's needs. I generally go out with a 442 and two or three Sennheiser G2's. The wireless are pretty small and light, compared to, say, Lectros, so the 1F covers me just fine. However, should you need space for more receivers, and /or a recording deck (the majority of my paid work is single-system), then you may wish to consider a larger bag up the line, or another manufacturer. As of right now, the 1F (the smallest of the line) is the only one available with the forward-mounting option.


Using the PEGZ-1F on a recent HGTV shoot with DP Christopher Nolan.



Pros: Usual Petrol build; extremely customizable internal wiring structure; more ergonomic forward mounting of mixer; exterior mounting pouches for wireless.

Cons: may be too small for over-the-shoulder double-system, or larger numbers of wireless receivers.

MSRP: $283

www.petrolbags.com

3.05.2008

Zaxcom-o-rama

Today is apparently Zaxcom day here at the offices of sync.sound.cinema (and by offices, I mean the beat-up easy chair I bought from Goodwill for seven bucks ten years ago).

The big Z just announced that they are now shipping their new 16-track recorder, the Deva 16. Snip:

The Deva 16 provides fault-tolerant, multi-disk recording with automatic file recovery to safeguard audio even in the event of an unexpected power failure. The system provides eight analog mic/line inputs with 48V phantom power, four additional analog line inputs, eight analog inputs, and eight digital direct outputs...

The unit records to three internal storage mediums or directly to an external FireWire drive without the use of additional computers...Audio pros can refer to the Deva Sound Report, a new feature that generates an Excel file of all metadata that was entered during production.




And yes, I checked: the unit will make you coffee in the morning.

Link, via postmagazine.com.

Zaxcom Fusion Mixer/Recorder

Zaxcom, makers of high-end digital recorders and wireless, have introduced the Fusion Combination Mixer/Recorder. Snip from coffeysound.com:

Zaxcom's newest product, the Fusion, offers the cumulative functionality of an 8 channel ENG mixer and portable recorder by offering the proven technology of the DEVA in a smaller more affordable package... Fusion features 8 analog inputs via full-sized XLR connectors and 8 AES digital inputs via a 15-pin D-sub...These sixteen inputs can be mixed to 4, 6 or 8 record tracks (upgrade option) using the 8 assignable fader knobs on the front panel.


At $7995 for the basic configuration, it feels a little spendy for the ENG/indie market, but considering the features and capabilities of the unit, the price feels reasonable. It's also interesting to see so much horsepower in such a compact chassis; the Fusion looks like it could free up a good chunk of mixing cart real estate all by itself.

Recently, they held a demo at Coffey Sound to introduce the Fusion (video clip below courtesy of Coffey Sound). Please to enjoy:



Link to Zaxcom product page.

Link to Coffey Sound Catalog page.

2.28.2008

Multiple Wireless Disorder

Day nine of twelve straight for HGTV.

Man, am I tired. But we are in the home stretch, which is good.

The shoots are fairly standard: wire up everyone and mix away. I'm using a multiplex snake to hard-wire to the camera, but on certain gigs, it's prudent to use a wireless hop, saving yourself the trouble of getting hung up on bystanders and missing that crucial shot.

To that end, B & H have put up a primer on using multiple wireless systems on cameras. Snip:

If you've ever considered connecting a wireless microphone to your video camera, the thought may have crossed your mind that it wouldn't hurt to have more than one mic. Attaching multiple wireless microphones to a video camera can be a daunting prospect for the uninitiated. This guide was created to show you the ins and outs of using these systems successfully with your video camera.


It's pretty basic, but does a good job of detailing the options available for wiring newer, smaller cameras with wireless receivers. Until recently, the only professional solutions for rigging wireless were meant for full-sized broadcast cameras. Now that smaller form-factor cameras are becoming common on set, these smaller brackets will become more and more useful.

(This is from a retail site, and thus is essentially a product promo, but the information is still valid.)

Link.

2.19.2008

We're Surrounded!

Soundtrack Pro has certainly come a long way in its short life, having added surround mixing capabilities in version 2 (though truth be told, while I like the program, it still has a ways to go). But once you've done your fancy 5.1, how do you get it out of the box? Kevin Mcauliffe over at Creative Mac takes us through it step by step. Snip:

I thought that for this article I would look at three very common ways to get your surround sound mix out to tape/DVD. One method for DVD, and two choices depending on your equipment setup for tape.


Link.

Also, be sure to check out Kevin's earlier article about surround mixing in STP.