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6

Back when i used to QC feature mixes, M+Es would often be accompanied by an "options track": a mono track with nothing but the breaths and non verbal vocalisations. This makes the most sense to me, as it gives the dubbing house the option of using it or not, while keeping vocal stuff out of the M+E. To achieve this, i'm guessing it'd be best to keep your ...


5

Actually you can do soundproofing without damaging the house. Using acoustic panels (expensive but provides the best result) works, however some well placed blankets using string and 3M adhesive hooks in a carpeted room can vastly change the sound of the recording because of reduced reverberation. Picking a recording time that has the least amount of noise ...


5

Drum tuning is largely dependent on the style of music being played. A jazz kit will usually be tuned to exact pitches in a scale, such as the snare being tuned to the root, one tom tuned to the fifth, one to the third, one to the root an octave lower, etc. A jazz kit will also usually be tuned such that the top and bottom heads are in tune with each other....


4

GENERALLY (because as you well know, every project is different), the difference is that I tend to use more compression on TV, because a) I have to hit a LKFS spec and b) I usually have far less time to ride levels so multiple compressors can go a long way. In film I usually start with very minimal processing on the bus... just a peak limiter and then add ...


4

Hi Andrew, Here are the short answers to your questions... Yes... the downmix is part of the Dolby or DTS decoder built into the DVD player. It's not an option, if the Dolby or DTS logo is on it, it will do it. I'm not from London, but any authoring house should be able to do this for you if you give them both sets of tracks - you need to have two separate ...


4

This is a very old thread, but I just saw it. I am the technical manager of London Short Film Festival, and the author of the "how to make a DCP" guide the OP referred to. First off, I'm really sorry to hear that the film did not screen as intended. And why indeed did the DCP-making guide I wrote suggest adjusting peak audio levels to -10dB in DCP-o-matic?...


3

This question is way too broad. there are pleny of places you can read up on personal techniques and mixing preferences on the web. I say this to help you...this kind of question is a bad way to approach people who can share knowledge with you. Take the time to educate yourself and develop informed...and specific...questions. You'll develop some of your own ...


3

What you're asking here is basically like asking how to build a car from scratch, in detail. Not only is it extremely technical, different cars demand different ways to be built. Same goes here. A good book to read how 5.1 works and why is Tomlinson Holmans - 5.1 Up And Running. The only true rule is: You do what you must. Nothing more, nothing less. What ...


3

The breaths should definitely be in the dialogue stem but also available in helper tracks (options track) for the foreign M&E. Most foreign dubs will use their own breaths from the foreign voice actor, but it's good to give them the option. Same with screams and singing.


3

What you call a fold down is called a downmix in ac3 standards. The default settings for an ac3 decoder making a downmix of a 5.1 stream to a stereo output is the following (as mentioned here : http://www.dolby.com/us/en/technologies/dolby-metadata.html) : Left and Right channels are sent to their respective L and R channels. Center channel is sent to both ...


3

If you want to do good mastering you at least need to buy monitor speakers. That's my answer and will solve your problem. The following are just for discussion and will not solve your problem: Also you say But when I listen to this on a desktop computer, the sound SUCKS! You mean using the same headphones on the desktop computer, or do you mean you ...


3

You could have a look into processing the recordings with the help of a binaural panning tool such as the one included in Logic. You would import the two channels of your audio files as two seperate mono tracks into the DAW and process each of them with the binaural panner. Using Psypan by Auburn Sounds in combination with Audacity would be a free ...


2

Is this requirement as ridiculous as it seems to be to me? Yes. No serious theater mix delivery specifications includes such limit. Nearly all theater mix will have sample peaks above -10 dB FS. Secondly, is this kind of level change actually normal in DCP creation? No. The mix should be delivered in conformance with whatever specifications apply. The ...


2

Mark Durham suggested I repost this as an answer ... ("... I guess that even good foley artist reacts with some delay etc.") Foley always needs to be edited. You are absolutely correct about delay time. Advancing the track 1 to 3 frames sometimes does the trick but you will still need to do internal editing ... always. Bring the volume down and play it ...


2

Whilst the musician would hear the vibes in stereo, in a stage situation, the audience almost certainly is going to hear them in mono, as they are much further away from the vibes. I would mix a recording from the audience's point of view (or point of hearing). So - if the vibes is the only instrument, then it should be mixed in stereo (but not hard left/...


2

For me this would be all about context. In a solo recording you may want to give some extra stereo width to this kind of instrument, although, in my humble opinion, its very easy to overdo it. For example panning the two mics hard left and hard right is going to give a wide spread but may leave you with a hollow centre. Solidity of the centre in the stereo ...


2

The problem is not gear... Several grammy winning mixers use the standard plugins that come with their DAW. Most likely the natural EQ built into the headphones has a boost in the low/low mid range that artificially tells you the mix has enough of that frequency range. Use several pairs of headphones to sample how the mix sounds on each, as well as testing ...


2

This depends on the board you have. But for arguments sake, yes you can set this up. If your board has an aux channel or a mix bus that is capable of being assigned to (and is not the master bus) simply route all the channels out through the bus to some kind of control unit (maybe even a single channel mixer, then take the output of that mixer, run it back ...


2

I would guess TV shows are often "mastered" either the same way or very similarly for broadcast versus DVD and Blu-Ray since the final output equipment is the same in either case. The release of two episodes of Game of Thrones was specifically described as "remastered" for IMAX, so we can expect the audio portion was mastered differently for delivery to IMAX....


2

What I would advice would be to use a mixing software like Native Instruments - Traktor for mixing tracks together. If you prefer non-live mixing you should definitely learn how to use a software like Ableton - Live. Your setup may vary depending on your needs, but one important thing in a live mix is not recording an audio feedback from your microphone. ...


2

This is partly a mic-technique issue for the person talking and singing - they need to be a lot closer to the microphone than they currently are. Vocal microphones such as SM58 are designed for hand-held use and should be no further than a fist away from the mouth when in use. This will allow you to attain a much better gain-before-feedback result and will ...


1

To answer your first question there needs to be more detail. Is the piano an upright piano or grand? Do you plan to record only live takes or will you be overdubbing? In answer to your second question, generally condenser mics are a better choice on piano, but again this could use more clarification in regards to specific mics that you're trying to decide ...


1

The underlying math is out=cos(phi)*signal_1 + sin(phi)*signal_2 The reason why this is used is due to the fact that, although we deal with the amplitudes of signals, volume is related to the (mean) power, i.e. magnitude squared, of the signal. Trigonometric functions are used here since sin^2 phi + cos^2 phi =1 -- i.e. the sum of the squares of the ...


1

I just saw Gravity the other day and really enjoyed it too, what a great sound experience. It was the first time for me to watch a film with Dolby Atmos, it was mind blowing, also the sound design was great and unusual mixing approach. As for your question, here's a link at soundworkscollection that probably answer your question. http://...


1

Level is very, very important and can make the difference between pink noise polluting the scene and tasteful cloth movement. However, a lot of that is also in the Foley performance; I was fortunate enough to attend a Q&A with John Roesch and asked him how to avoid that typical noisy cloth track you sometimes get with mediocre Foley. His reply was to be ...


1

Most radio spots are done at 48K sampling rate, audio post in general really. Here in the US there aren't any broadcast level specs, most people just set their output limiters at -1 or 2. From there you just mix with your monitors at the correct level and make a nice sounding mix. The stations themselves handle the final compression before the signal is ...


1

You can also check and make sure that everything is in phase in your mix. That happened to me once. The theater was actually in mono and I hadn't correctly made sure that there were no phase issues.


1

Whack an analog distortion thing on it, VintageWarmer maybe? Very little, very subtle. Also play with EQ, boosting frequencies that are -not- bass at all. Your brain will then reconstruct things in its own wonderful way.


1

Lots of great stuff already mentioned, but I'd also recommend checking Bobby Owsinski's blog too. Saw a recent blog post that you might find useful.. http://bobbyowsinski.blogspot.co.uk/2012/04/5-tips-for-balancing-bass-and-drum-mix.html


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