9

Record one long shot. Split it from the half. Put one half to the right channel and the other to left channel. Export a stereo file. This way you will get a very wide stereo image that is hard to get from a stereo field recording and your sounds in the front will be clearly distinct from ambience. Do not just transform to stereo. If you do that, you will ...


7

It really depends. Sometimes you need a global volume boost because the audio is too low anyway to correctly listen to the noise reduction you're applying. Sometimes there's a 50 or 60Hz rumble or any other fixed unwanted frequency that you could remove before denoising... But generally speaking "the sooner the better". And before any processing other than ...


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 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

To quote Thomas Edison "I have not failed. I've just found 10000 ways that won't work." It's always a horrible feeling when you look back at something at realize it wasn't as good as you'd hoped. Look at this as an opportunity to discover some things about yourself. Maybe you don't want to work under those sort of conditions in future projects, so that will ...


5

Yeah, forests are tough. Altiverb has some good forest verbs. Try an in game worldized reverb with heavy damping, a short tail and a longer predelay. I've found predelay to be the most important setting for real world verbs like this. It should almost sound like a long slapback verb. Try more than 80ms and experiment.


5

This is called a sibilance, or sibilant articulation. http://en.wikipedia.org/wiki/Sibilant You can avoid it in the recording process using a pop filter, but in post production there are a handful of de-essers available for taming those sounds. The process involves compressing just the frequency range that contains the sibilant consonants through ...


4

I usually have my Dial editors only do very basic level adjustments. Basically lower any really loud pfx or a line that is dramatically out of sorts with the rest of the scene. With noise reduction, I never want my editor to do any broadband NR or notch filtering. You can get into a lot of unnecessary processing that might not be needed once everything ...


4

It depends on the agreements made between the dialogue editor/supervisor and the sound supervisor. Mixers could prefer to not have volume automation, but this differs. Why do you ask? Are you editing dialogue? Or are you mixing the movie? Recommended reading: Dialogue-Editing-Motion-Pictures


4

Record 2 mono claps/pulses/shots, however you're generating it. Move the mic from one side of the room to the other for each, keeping each at the same distance from the source. Match up the initial claps later, save as stereo. It won't be perfect, but no-one except you will ever know ;-)


4

Route the output of each track to another empty track. Record arm the destination tracks and then hit record. When the record pass is done all your effects and automation will be "printed" to the new tracks.


4

This is a very big topic, I will start by redirecting you to a very useful site/article: Mastering for Vinyl from Recording magazine. Also I would like to state that I'm not a mastering engineer, I'm a mixing engineer only working with analog gear, so I'll try to tell you what we keep in mind when going for vinyl. The article is far more detailed and ...


4

If it was recorded with one microphone, there is no good way to rectify this problem. Vocals and guitars share the same frequencies, so EQ is out of the picture. Sorry.


4

I don't know if any of the following will work or not, but maybe worth an experiment. Try a delay of about 1/2 of a millisecond, if you have the capability, between the two channels, of the mono signal. The goal is for the delay to match the amount of time it takes a sound to travel from one ear to the other. I can't remember the exact number--something ...


3

Your instinct is correct - a reasonable way to deal with this using Audacity would be to copy the section to a second (stereo) track, shifted in position so that an earlier piece aligns with the giggle. Then use the 'envelope' tool to shape the volume profile of each track. Since the replacement section was earlier in time, lower its volume enough to match ...


3

It does depend but most will apply it early in the chain especially if it's an offline process like Izotope Denoiser. It's much easier for the software to work if the noise floor isn't moving around and being compressed, expanded, clip gained, volume automation etc.


3

Speech is anything but "well-rounded". Vowels start at the vocal cords with basically the most overtone-rich signal possible, a pulse train. If you look at the frequency content of such a pulse train, the Fourier transform domain actually also shows a pulse train with (constant-peak) pulses at the multiples of the fundamental frequency. This is the "...


3

(I'm not sure what you want to fix - it sounds sick and genrewise it is spot on!) Needless to say: always record with a DI so you have the option to reamp later on if something turns out too hot etc. But at this point this advice is not worth much ;-) I can think of a few things you might try out: De-clipping: Try to "restore" clipped areas. De-clipping ...


3

In addition to @frcake's excellent answer, I have a few points: I have been gigging for over 30 years and I still have trouble getting some sounds I want. One solution that most guitarists go for is to have many guitars. All of mine sound slightly different, sustain, wood tone, pickups, bridge, electrics, resonance etc. Some have higher action or greater ...


3

Yes, it is simply a compressor - typically you'd use one with a relatively low threshold and ratio. And some may store metadata for the whole track once it has been compressed/normalised once. I know my car stereo could do that - would zip through new tracks to identify peaks and normalise against them. You don't need predictive normalisation though - ...


3

It's 'simply a compressor'... however it's a very specialised type of compressor. There are probably others in this field, but the go-to name for radio compression is Optimod by Orban Optimod is, to over-simplify, a multi-band compressor specifically made for radio transmission & includes specific timing & frequency compensation for the way radio ...


3

You can't. There is no mechanism for storing metadata on a bog standard audio CD. The metadata you are seeing is actually stored within iTunes and WMP respectively. Each media player recognises the CD you have burned and invokes the entries within it's own respective database. There are ways of retrieving metadata from online databases such as musicbrainz ...


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

Spend your money on a good convolution reverb (e.g. Altiverb, LiquidSonics Reverberate, others. Though the reverb plug-in is not as important as the impulses that you get, esp. in Altiverb). Secondly, AudioEase Speakerphone and iZotope RX are significantly useful products. In terms of EQs and compressors and a bunch of other stuff, not that necessary. You ...


2

Several things a dialog editor can and should do with level automation... smooth out transitions between handles on different takes keep dialog levels roughly consistent between takes reduce loud momentary sounds gently reduce annoyingly loud constant background sounds around dialog, but not during it I don't discourage editors from using something like ...


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