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14

While I haven't heard the second season of the show, I agree with Gary on this. As a re-recording mixer, I have heard plenty of my shows degrade once on air. One of the biggest things we are faced with now is the use of expanders by the networks. In a misguided attempt to compete with the volume levels of commercials, broadcasters are resorting to ...


14

You're likely to find that artists that have basslines that stick out well on both proper studio monitors as well as crappy laptop speakers are utilizing a bunch of layering of sounds to create a cohesive bass sound that spans various frequencies (besides the low ones you'd expect). Even when I'm using a bass sound that is essentially a sub (sine wave) bass,...


13

I agree with @AJ Henderson explanation of "Wall of Sound" concept. I'd like to add one more perspective. Some years ago I've ran into a very interesting way to look at a mix. The concept was about thinking of your audio image as of actual 3D image. Where the space can be defined by following means: Right\left - panning\balance Up\Down - EQ Far\Close - Space ...


13

There are a few misconceptions here. Normalization, in the most basic sense, raises the gain of the ENTIRE track to a nominal level. What you are trying to do with normalization is maximize signal. The relative dynamics of the track are not changed. There are actually two types of normalization, but the most common is peak normalization, where the loudest ...


10

The best course I can recommend is to use the best tools and resources you have available. Headphones are not ideal, but they're better than bad speakers, and probably better than even good speakers in a bad listening environment. A lot depends on what you're mixing and what the target environment will be. Mixing music or voice that will mainly be consumed ...


9

"what's done about this in a big budget situation and what's the low budget trying to be as efficient as possible approach?" From my experience, these events are always covered in foley for the M&E, even if the pfx sound great. Most foley supervisors will spot a majority of the props/feet they see on screen just to cover their bases. If foley feet ...


9

The industry standard right now is 24bit, 48kHz. The frame rate doesn't influence those settings. Depending on the type of work you are doing (dialog editing, foley editing, sound effects editing or design), your sample rate may vary anywhere from 48k all the way up to 192k. But 99% of the sessions that are ultimately destined for a professional dub stage ...


9

Yes, it is possible, but it isn't easy. There are a number of free tools for editing audio in the frequency domain. I haven't had much luck isolating specific sounds with them, but I have been able to do some sonic manipulation that wasn't possible with traiditional audio editors. Tapestrea, from the Princeton Sound Lab. Spectro-edit SPEAR The latest ...


9

A snake is simply several cables bunched together. It is typically used to route all or most of the signals between the stage and a mixing desk. There is usually a box at the stage end to plug all of the microphones and instruments into and simply cables at the other end to plug into the mixer. Here is a Wikipedia article with more technical details on ...


9

This is confusing panning with space in the "wall of sound". There are multiple dimensions to sound. At a minimum you have placement in terms of relative "volume." You also have the dimension of frequency from low to high frequencies. You also have left to right placement in a stereo mix and if you are doing surround, you may have additional axis that ...


8

Suppose you want to use parallel audio effects (i.e. typically reverb, delay or sometimes chorus: effects that just add some "dependent extra signal" rather than "destructively" modifying an input signal). There are two obvious ways to do this: use an insert loop like you would for a serial effect (compressor / eq ...), but with an FX unit that allows you ...


8

Using a higher order filter will give you a greater roll-off slope in the filters stop-band. So a 1st order filter has a roll-off slope of -6db/octave, 2nd order filter has a roll-off slope of -12db/octave, 3rd order filter has a roll-off slope of -18db/octave, 4th order filter has a roll-off slope of -24db/octave, etc. This means the filter does not act ...


7

I'm not a great authority on this, but i'll jump in anyway because you seem keen to get an answer: 79 dB spl seems to be the standard calibration for TV mixes. Commercials, from what i hear, tend to be pushed louder by ad agency execs who want their ad to thump people in the face, but it sounds like you're mixing a program so you should mix to standard spec ...


7

5 ways a newbie can be more professional: 1) Don't mess with the levels while the recording is in process as this changes the signal to noise ratio enough to make the track sound wonky. Set your levels before you punch the record button, I generally run as many takes as needed to set the peak load. 2) Don't expect everything is in tune. Make double sure ...


7

The 'mic' input on your laptop is designed for a microphone's low level input. It has a preamp to boost the signal to 'line' level hence if you are feeding a line level signal into a 'mic' input it will be amplified into clipping aka distortion. Assuming that your 3 channel mixer has "phono" level inputs and line level outputs, it would be good to get ...


7

There are two questions here that I think should be addressed separately: Question 1: "is this a bad method of practice?" As I understand it, the reason it's considered "better" to compress individual tracks and not the master bus is because you have a finer degree of control, especially in today's digital world where you could instance a compressor on ...


7

There are 5 stages/phases in a Album production: Recording > Editing > Mixing > Mastering > Printing. It's worth naming "Pre-production", which is before the 5 steps and can be very important to make things go better. Pre-production can be a wide variety of things. All from making the music arrangements, defining artist identity, vision, and intention; to ...


7

Part of the answer is the fact that the cut is almost entirely made up of short and percussive sounds. With no sustaining voices or long release times there is not much material to clutter the same frequency range at the same time. The few sustaining parts are pretty mid-range and appear to be heavily compressed. Also the use of effects is limited. Reverb is ...


6

This is a perfect opportunity to get inside your protagonists head and use sound to tell the story more effectively. I imagine we all have a different perception of what heaven sounds like...why not try to nail your protagonists POV. This was well done in the movie Contact for example. My perception of the sound of heaven might include a collage of my ...


6

First off this 79 figure is based on room size. Look for the ATSC 85 document to verify. It's typical to mix to 79 for TV and 82 to 85 for film. Theatrical get's sometimes 85 up on LCR and 82 on Ls Rs. You need to take a room size measurement then using the figures in the doc above, and an SPL meter and the blue sky test tones (or pink limited mono wav ...


6

The basics are thus: "What are the specifications of the broadcaster you're delivering to?" You're asking us to distill a very complex process down into a "paint by numbers" process. If it were that easy, there'd be a manual that anyone could follow. I'm not trying to be mean by saying this, only trying to give you an idea of the scope of the question you'...


6

David Farmer did an AMA on Facebook recently where he talked about some of this: https://www.facebook.com/photo.php?fbid=10151753385296286&set=a.101318681285.104099.7513286285&type=1&theater David Farmer: It helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The ...


6

Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional. Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands.


6

The only "natural" (i.e. "using only the data in the sample") way to change the pitch of a recorded sample is to change the speed of its playback. So a sample that sounds an octave lower should take twice as long to play back. But you have a tool that somehow manages to play that sample back octave lower, while somehow keeping the playback time the same. ...


6

The important thing about such sounds is that the sources aren't coherent, neither the deviations in rythm and frequency nor the actual audio phases and amplitudes follow any predictable relationships. That's unlike the extra signals normal chorus/delay/phaser effects add, where the modulation is usually at best periodic and the relation very simple, only ...


6

Ah, the old question: How do I make the vocals heard over a band with a tiny PA? It's not always easy. Compression won't help you; it may actually make things worse by making feedback more likely. It sounds like you're using underpowered PAs, and if you want the vocals to be loud enough you'll need the band to play more quietly. But the band has to want to ...


6

The first thing to say here is, I'm not a lawyer, nor do I play one on TV. Second thing to say... you should talk to a lawyer to answer questions about your particular situation definitively. Having said that, I found a nice article about the various issues related to DJing, etc. I believe the bit below should be applicable to you, though I'd recommend ...


6

I tend to go manual. When I'm editing VO, its just a matter of a fast breath cutting pass and then a separate pass of other editorial and mixing. For breath cutting, I'll make the waveform and the track very big so that I'm just looking at the softer stuff in the track (not worried about seeing peaks when breath editing) then i'll place my left hand on the ...


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