Sound and Music Thu, 30 Mar 17 00:53:54 -0600 Sound and Music en-CA The Sound of Rogue One: A Star Wars Story Wed, 29 Mar 2017 04:45:29 -0600 Vitaliy_Kiselev 16655@/talks/discussions

Magix made Music Maker Free Version Thu, 23 Mar 2017 01:16:01 -0600 Vitaliy_Kiselev 16621@/talks/discussions

Magix has announced the latest version of their Music Maker music creation software. A “creative workspace” for digital music-making on the PC platform for over 20 years, this new version of Music Maker is now “absolutely free” for everyone. Music Maker provides a wide range of the tools needed to record, produce, and share music.

Software synthesizer workstations Sat, 24 Dec 2011 20:17:08 -0700 Vitaliy_Kiselev 1829@/talks/discussions
Ones that allow to do same thing that usual hardware workstation do.
It means - having patches for most commong instruments (from piano to brass, strings and pads), ability to make heavy layering, preferable some arpeggiator functions, and easy voice editing mode.

Ones that I know.

* Discontinued Steinberg Hypersonic
* Now active Steinberg Halion Sonic (about $130 for EE version) -

You can also look at
As libraries usually have big amounts of useful patches.]]>
How could I mic this wide angle type of interview? Sun, 25 Dec 2016 12:03:09 -0700 suresure123 16230@/talks/discussions I really like the wide angle on these interviews but am wondering how I will mic something like them. I have a H1 Zoom and I was wondering if I could just stick on on a small stand in front of them and cut it out of the a few of them are like. One interview with the old couple in their trophy room clearly must be using lav mics? maybe, one for each speaker? Otherwise I can't see how they got a microphone close enough to them for the shot....some way to hide the mic maybe?

Any tips? Could I get decent sound with just the H1 a couple of metres in front of the speakers?

How do you think the filmmakers did it?

Does anyone think they used binaural mics? Some of the 2nd documentary I posted has some of their dynamic to my ears.

Sony SpectraLayers, now Magix SpectraLayers Mon, 06 Aug 2012 08:55:15 -0600 Vitaliy_Kiselev 4160@/talks/discussions SpectraLayers introduces an innovative, unique workflow that redefines what can be accomplished in the professional audio editor's suite," said Dave Chaimson, vice president of global marketing for Sony Creative Software. "The level of editing precision and advanced capabilities SpectraLayers offers makes it an essential tool for industry professionals who demand the deepest audio analysis tools."

SpectraLayers Offers the Following Transformational Features:

Extreme Audio Editing

  • Divide audio files into discrete, user-defined layers that can be processed independently and reintegrated to achieve perfect master files.
  • Remove unwanted noises and artifacts with ease while leaving surrounding audio data completely intact.
  • Separate music and dialogue into individual component layers.
  • Perform pitch correction on user-selected components of an audio file.
  • Employ SpectraLayers in audio mastering, sound design, analysis, and forensics tasks.
  • All tools are modifiable using a wide range of user-definable sensitivities and tolerances.

Extraction Tools

Extract audio into independent layers using intelligent, programmable tools:

  • Area — select any audio for transfer from directly within the spectrum graph.
  • Frequency — track frequencies and transfer them directly to selected layers.
  • Harmonics — seek and select harmonics in user-defined amounts and orders.

Modification Tools

Operate directly on waveform spectra to perform precise, creative edits:

  • Amplify
  • Clone
  • Erase

Creation Tools

Create sound directly in the SpectraLayers interface

  • Frequency
  • Noise
  • Fidelity / Flexibility

  • 32-bit 96 kHz capable.

  • SpectraLayers provides seamless file transfer to Sound Forge Pro and other audio editing programs.

SpectraLayers is available for both Mac and Windows platforms.


More info:

Adobe VoCo - make voiceovers from text Sun, 06 Nov 2016 14:31:37 -0700 Vitaliy_Kiselev 16003@/talks/discussions

You need around 20 minutes of recorded speech for the engine to be able to accurately add new words to the audio clip.

GH4 + Sound Devices MixPre-D - how to set up for clean audio into cam? Fri, 28 Oct 2016 07:27:44 -0600 tubefingers 15955@/talks/discussions I'm currently an AF101 shooter but need a lighter/compact option and I'm thinking to buy a GH4 body to use on overseas events jobs with my Olympus 12-40 & 40-150.

I have a MixPre-D and a few sets of Sony wireless radio mic's so what else would I need to get clean audio into the camera so I can achieve the following:

  1. Record audio from the AV desk directly into the cam for presentations etc.(I don't want to use an external recorder and sync in post)
  2. Record interviews on the fly around the event with the radio mic's.

Also can anyone recommend some sort of cage or bracket and shoulder rig for run n gun type shooting with the audio kit attached,


DAW for music production Sun, 12 Feb 2012 10:31:34 -0700 Vitaliy_Kiselev 2255@/talks/discussions This topic is about verious DAW opinions and comparisons.
Focused on music production for your film.

23 Virtual Pianos Compared Mon, 26 Sep 2016 05:59:23 -0600 Vitaliy_Kiselev 15794@/talks/discussions

Need advice with audio editing Tue, 05 Nov 2013 12:39:48 -0700 tonalt 8675@/talks/discussions I usually prefer "learn by doing" but in case of voice audio, I'm pretty lost. I have been watching youtube tutorials etc. but every author seems to have their own opinions how to do things and the results haven't really impressed me.

So if someone who could tell me how to edit this clip on practice:

It's interview type clip. Recorded with shotgun microphone (NTG-3, placed just above subject pointing down) through MixPre and from there directly to GH2. Yes, shotgun is not the best option indoors because of echoes but this is now what we have. I have Sony Vegas Pro but lately I have been using Audacity especially to pre-process the audio.

I want it simply sound as good as possible. To get rid of background noise (couldn't avoid that), do somekind of equalization, compress and maybe even lower the echoes somehow (possible?).

Here's what I have figured out about work steps (or maybe I haven't figured out anything ;) )

  1. Remove noise: In Audacity, paint part of the clip where is no other noises than the background noise choose: Effect -> Noise Removal -> Get Noise Profile. Then select all -> Effect -> Noise Removal -> (I decreased sensitivity to -4,5dB, otherwise effect was too obvious) -> OK, done.

  2. Equalization: This is probably one of the most difficult tasks and takes years of experience. Effect -> Equalization -> ???

  3. Compression: Effect -> Compressor -> (default values sounded pretty good actually, but what you recommend) ???

  4. Remove echoes: Possible ???

If I would just get these real world instructions for this clip and information why some settings were chosen, I believe I would be much wiser already. I could also consider getting some better tools for audio if it really makes huge difference. Thanks!

Audio Noise Reduction Thu, 05 Jul 2012 05:18:15 -0600 sam_stickland 3786@/talks/discussions I've started this thread for the discussion of audio noise reduction/repair software and techniques.

I've only just started using iZotope's RX2, but compared the other noise reducers I've tried it's damn near magical (disclaimer: I'm far from an expert in these things). Using the Sound Forge noise reduction plugin I would have to stack multiple low dB reduction passes on top of each other to get a reasonable sound, and every stage could introduce musical noise artifacts, but RX pretty much always manages it in a single pass.

Any other good ones?

Adobe Audition - Cleaning Up Audio and more Mon, 07 Mar 2016 05:36:02 -0700 MikeLinn 14728@/talks/discussions

Bit depth and sample rate - Impact on audio editing quality Thu, 28 Jul 2016 17:58:56 -0600 joethepro 15438@/talks/discussions If I were to record 2 wav files, one at 16/48k, and one at 24/96k, I understand that there would be little to no perceptible difference in the sound quality to most listeners. As far as editing the file goes, how do the higher quality files make a difference? Will I be able to pitch shift or slow down the 24/96k file farther without it breaking up, for example?

Seaboard Grand controller Sat, 09 Mar 2013 21:21:48 -0700 Vitaliy_Kiselev 6367@/talks/discussions


Post Production Sound Tutorial (+ a bit on location sound) Mon, 21 Jul 2014 19:28:21 -0600 spacewig 10853@/talks/discussions Workflow

  1. Location sound
  2. Transfer & backup
  3. Sync
  4. Edit
  5. Export
  6. Import in DAW
  7. Organize tracks
  8. EBU R128 & Monitor levels
  9. Create roomtone & clean tracks
  10. Noise Reduction
  11. Crossfade tracks
  12. Spotting session
  13. Foley
  14. Ambiance
  15. Sound Design
  16. Music
  17. Mix
  18. Export

Wiki Link

Moodelizer and Filmstro Tue, 24 May 2016 10:06:51 -0600 Vitaliy_Kiselev 15117@/talks/discussions

Stormhenge SuperThump Thu, 15 Jan 2015 12:18:44 -0700 shian 12179@/talks/discussions So, as some of you know, aside from film and video production, I also produce and engineer music. In that endeavor, finding it hard to get the guitar tone I wanted, I decided to build my own amp. It's based on Eddie Van Halen's classic "Magic Marshall" the 1967 Marshall SLP "Plexi" with a couple of custom circuits added. I don't know yet if I'm going to accept commissions to build these in any commercial sense. - for now, just for myself and my friends. But since I know there are tons of musicians on this site as well, I figured I'd share.

Shot with an unhacked GH2, kit lens, and lit with a clip on 40watt desk lamp clamped to mic stand, and a couple of hanging lamps in the rafters of the garage. No Color Correction. Sound recorded with a Shure SM57, through an old Mackie 12 channel board into a Tascam DR07 mp3 recorder. (The hum is me pushing up the gain in post on the amp mic so we can hear Bryan talk.)

It's hard to see cuz it's hiding behind Bryan... but it's not much to look at for now. Still in a generic cabinet.

I had Bryan's mic turned off, and was starting to break everything down after wrapping up a pedal demo for Cusack Music. Without realizing it I left the camera and amp mic on while Bryan decided to jack into the SuperThump proto and fool around.

Les Paul Standard direct into the amp, reverb added in FCP X.

The "F...all this... and that" Bryan is referring to is his entire pedal board and the DSL behind him that he normally plays through.

Kami music keyboard production station Fri, 22 Apr 2016 03:02:59 -0600 Vitaliy_Kiselev 14998@/talks/discussions

Is GH2 audio out of sync in a 'consistent' way? Mon, 07 Mar 2016 20:20:41 -0700 matt_gh2 14732@/talks/discussions Does anybody know if the GH2 is consistently out of sync by the same amount of frames each time you record a clip? In other words, is it always 3 frames off or is it sometimes off by 2 frames and other times off by 3 frames? (I ask because the new Juicedlink Little Darling Recorder deluxe version has wireless slate option that sends a slate tone to audio in recorder and a slate tone to audio in your camera. So if we know the audio is off consistently by exactly 3 frames...or exactly 1 frame, we can sync audio to slate tone and adjust by this consistent frame error in GH2).

ZOOM H1 can`t sync Tue, 01 Mar 2016 11:00:54 -0700 Wilx 14668@/talks/discussions Hello, recently bought myself ZOOM H1 recorder. First I was happy as a clam but later I found that ZOOM skips sound and I cant sync it with video. Also it records very quiet + audio spectrum is very short so its hard to sync. What can I do? How to fix this problem? I even recorded video to show this problem -
(start watching after 0:44)

Compressor during recording in Audacity Wed, 24 Feb 2016 17:43:28 -0700 joethepro 14648@/talks/discussions Is it possible to apply compression while recording in Audacity, or is it only a post recording tool? This question applies to all filters, really.

Orion Sound Module - free 3GB rompler Fri, 12 Feb 2016 05:03:06 -0700 Vitaliy_Kiselev 14564@/talks/discussions image

Orion Sound Module is a free 3GB rompler featuring 97 virtual instruments, works on Mac & Windows.

Filmstro soundtrack generator Fri, 29 Jan 2016 11:49:50 -0700 joethepro 14509@/talks/discussions

Introducting the world's first soundtrack creation studio

Mac only for now, Windows release coming early march.


New Korg Kronos and Kronos X Thu, 12 Jul 2012 14:38:40 -0600 Vitaliy_Kiselev 3881@/talks/discussions

The Kronos X doubles the PCM RAM capacity to approximately 2GB and the SSD capacity to 62GB, enabling musicians to take full advantage of all the Kronos Sound Libraries. In addition, Kronos X contains Korg's EXs 10-13 expansion sample series of Kronos Sound Libraries pre-installed in its demo mode. Users can obtain full versions, plus additional Sound Libraries, by simply purchasing a license key from the Web Shop.

Along with Kronos X, Korg announces Kronos OS v2.0, coming soon for all Kronos and Kronos X models. For models that do not already have OS v2.0 installed (visible during boot), users can download it for free, then easily install it via USB.

New to OS v2.0 are user Sample Banks for creating high-capacity, custom sample libraries. Players can load and play many gigabytes of their custom or converted samples at once, using the internal Kronos SSD. Improved disk and memory enable the creation of User Sample Bank subsets, as well as mixing and matching parts from different banks, without duplicating samples on disk. Programs, Wave Sequences, and Drum Kits maintain links to the User Sample Banks even when samples are moved on disk or loaded onto a different Kronos instrument, making it easy to share sounds with friends and collaborators. Players can also create their own samples or import Akai and SoundFont 2.0 libraries using new, improved conversion features.

Additional things:

  • A second internal SSD can be added to support massive sound library expansions, including Korg and third-party Sound Libraries
  • USB Ethernet support enables high-speed data communication between Kronos and a computer

Available at:

Your 2015 home theater could have 64 speakers :-) Tue, 24 Apr 2012 19:11:51 -0600 Vitaliy_Kiselev 2998@/talks/discussions Joke.

Bure real theater could

Mistakes in wireless microphones usage Thu, 31 Dec 2015 21:12:50 -0700 Vitaliy_Kiselev 14341@/talks/discussions

Understanding the basics of how wireless systems and radio waves function will help you consistently triumph over dropouts, interference and distortion. You can start right now by avoiding these common errors.

Signal blockage

Maintain line-of-sight between the transmitter and receiver antennas as much as possible. Avoid metal objects, walls, and large numbers of people between the receiving antenna and its associated transmitter. Ideally, this means that receiving antennas should be in the same room as the transmitters and elevated above the audience or other obstructions.

The human body can also interfere with wireless signals. Largely composed of water, our bodies absorb RF energy. In addition, if a user cups his or her hands around the external antenna on a handheld transmitter, its effective output can be reduced by 50 percent or more. Similarly, if the flexible antenna on a bodypack transmitter is coiled or folded, the signal suffers.

Incorrect antenna type or placement

Receiver antennas are one of the most misunderstood areas of wireless microphone operation. Mistakes in antenna selection, placement, or cabling can cause short range, dead spots in the performance area or low signal strength at the receiver that leads to frequent dropouts. Modern diversity receivers offer much better performance than single-antenna types, but the right antennas must still be put in the right place to maximize the performance and reliability of the system.

To ensure good diversity performance, space antennas apart by at least one-quarter of a wavelength (about 5 inches at 600 MHz). The receiver antennas should be angled apart in a wide “V” configuration, which provides better pickup when the transmitter is moving around and being held at different angles.

Try to keep antennas as close to transmitters with line of sight as is possible. Antennas can also be frequency band-specific. Don’t try to use an antenna from another system without double-checking the frequencies first.

If the receiver will be located away from the set area (in an equipment closet or a closed rack, for example), ½-wave antennas or directional antennas should be remotely mounted (ideally above the audience) in order to have a clear line of sight to the transmitters. (Short ¼-wave antennas should never be remotely mounted, however, because they use the receiver chassis as a ground plane.) Increasing the separation between diversity antennas up to one wavelength (about 20 inches at 600 MHz) will improve diversity performance. Beyond one wavelength, extra distance between the antennas will not significantly improve diversity performance, but may allow better coverage of a large stage, church, or meeting room.

If the antennas will be far from the stage, use directional antennas to improve reception by picking up more signal from that direction and less from other angles.

If the antennas will be connected to the receiver with a length of coaxial cable, in-line antenna amplifiers may be required to overcome the inherent signal loss in the cable. The amount of loss depends on the exact length and type of cable used, so follow the manufacturer’s recommendations. Total net loss should not exceed 5 dB.

Poorly coordinated frequency set

  • Frequencies must avoid local active TV channels
  • Frequencies must be mutually compatible

Television transmitters may operate at power levels up to one million watts while wireless microphone systems typically have only 50 mW (fifty one thousandths of one watt!) or less output power. To combat broadcast television interference, avoid using frequencies of local active TV channels.

How local is local? “Local” is generally considered to be up to 50 or 60 miles, depending on the coverage area of the particular TV transmitter and on the location of the wireless microphone system. The good news is that indoor setups are at less risk than outdoor setups because building structures will usually strongly attenuate TV signals. Inside buildings of substantial construction, it may be possible to ignore TV stations as close as 30-40 miles. Still, since the locations and assignments of television stations are well known, it’s pretty easy to choose relatively safe wireless microphone system frequencies in a particular area.

To insure a mutually compatible set of frequencies once the local TV channels have been taken into account, it is necessary to use one of two methods. The simpler method is to use the “Group” and “Channel” frequencies that are already programmed into the wireless systems. By using Channels that are all in the same Group, compatibility is guaranteed for small setups of like equipment. The appropriate Group and Channels can be determined from a link to the manufacturer’s website or often by using the built-in “Scan” function on the receiver itself.

If the wireless setup is more complex, for example using wireless microphones and wireless in-ear monitors together, it may be necessary to use a frequency coordination computer program to insure compatibility. Wireless manufacturers can assist in these situations.

One frequency does not fit all. If you are touring, one consequence of the newly dense TV channel distribution in the US is that it is not generally possible to use a given set of wireless microphone frequencies everywhere in the country.

There is no such thing as “set and forget”.

Even if your audio system doesn’t move from place to place, the radio environment can change unexpectedly. It’s largely true that television stations remain constant, but if there are other wireless systems in the frequency band – whether it’s multiple systems in your own location or interference from the coffeehouse down the street – your wireless frequencies may need to be adjusted. What worked at sound check may not be failsafe when the show begins. And that’s why frequency coordination is so important.

Poor battery management

Despite the fact that transmitter battery life is a top concern with wireless mics, users continue to try and cut operating costs by using inexpensive batteries. Most wireless manufacturers specify alkaline or lithium single-use batteries because their output voltage is very stable over the life of the battery. This is important because most transmitters will exhibit audible distortion or signal dropouts when supplied with low voltage. Rechargeable batteries often seem like the ideal solution, but many rechargeables provide about 20 percent less voltage than a single-use battery — even when they are fully charged.

To combat battery problems, carefully compare the transmitter’s voltage requirements with the battery’s output voltage over time to make sure that the battery will last through a full performance. For 9-volt applications, there are lithium-ion types that work well, while Ni-Mh and Ni-Cad batteries may last only a couple of hours. For AA applications, Ni-Mh rechargeables offer similar performance to single-use alkaline batteries.

Using rechargeable batteries is a great way to save money and landfills as long as you or someone on your staff is able to effectively manage them. Remove batteries from transmitters after each performance. This will keep you from using half-dead batteries the next time you need them and will also prevent an accidental leak from damaging your transmitter if stored for an extended period of time.

Improper gain set-up

Setting the proper input gain is one of the most important adjustments on a wireless microphone system. Distortion may occur if the gain is set too high, while poor signal-to-noise may result if the gain is set too low.

Most wireless systems have a gain control on the transmitter itself in the form of a switch, a pot, or a programmable adjustment. It may help to think of this gain control as serving the same function as the “trim” or “gain” adjustment on a mixer. Its purpose is to set the input sensitivity low enough to prevent input overload or “clipping” but high enough so that the signal level is well above the system noise floor.

Adjustment of the wireless transmitter gain is done in the same way as mixer input gain: set the gain control so that the loudest input signal just barely lights the overload or peak indicator. For a wireless system this indicator is usually on the receiver, so it is necessary to observe the receiver front panel while the performer is singing or playing. If the peak indicator is flashing constantly, reduce the transmitter gain until it flashes only occasionally. If the indicator never flashes, increase the gain until it flashes just on the loudest signals.

Many wireless microphone systems have an output level control on the receiver. Since this control only affects the receiver output, it has no effect on improper gain adjustment in the transmitter. That is, if distortion or poor signal-to-noise is occurring in the transmitter, it cannot be “fixed” by changing the receiver output level. Most professionals recommend leaving this control at maximum. As long as the mixer input can accommodate this level, the overall system will exhibit the best possible dynamic range.


Can I get away with using foley/drone audio from movies. Tue, 08 Dec 2015 08:38:14 -0700 suresure123 14165@/talks/discussions I know many will jump to discuss the legality of this even though there are tons of illegal stuff on here and this site grew out of probably illegal hacks.

Ok, so do you think it would be possible to take some foley drone audio from hollywood movies, maybe put it through few filters and use it and not be traced back to the source? I watched Sicario today and there was some great ambient drone sounds, not really music but drone like sounds.

Would you use it? Will I be arrested?

What Voiceover Mic should be used to complement indoor dialogue Thu, 19 Nov 2015 11:40:52 -0700 stauffec 14089@/talks/discussions I'm shooting a scene with indoor dialogue - and I'm planning on using a Audix SCX1/HC to capture that conversation. However, later on one of the actors in the earlier scene has a voice over. Should I use the same Audix SCX1/HC (in a sound room) to do the voiceover - or should I choose a mic that is designed for voiceover work? Initially I thought I should use the same mic because that way it would record that individual's voice the same way - but now I'm not as sure.

Rowa Mic 109, utracheap stereo mike Wed, 02 Sep 2015 20:20:20 -0600 suresure123 13650@/talks/discussions

I bought this the other day, I needed a very small compact mic for my OMD EM5 MKII. I saw a few reviews on youtube and it seems ok, I will only use it for picking up sounds and maybe in a pinch some dialogue. Anyone used one? They seem generic, with different names but ultimately they are the same mic.

If crap ill stump for a MKE400 but the sound seems thin and its expensive so am trying this budget option first.

MIDI keyboards with mini keys Mon, 04 Feb 2013 02:07:46 -0700 oscillian 6003@/talks/discussions I'll start off with my own experience. Please feel free to chime in :-)

M-Audio Keystation Mini 32

This is the one I currently use. Great compromise between portability and control. The keys are actually very musically to play! You can choose between different velocity curves (I personally find #0 to be great playing the piano). The range of 32 keys is also very good. Pitchbend controller/expression buttons works surprisingly fine with adjustable bend time. Sustain latch button and rotary controller adds to a very complete and affordable package. I can't actually find anything to complain about :)

Akai LPK25

Up until the keystation arrived, this was my choice of mini keyboard. But compared to the Keystation the keys are spongy and having just 25 is a bit claustrophobic.

Korg Microkeys 37

This is the one to get if you hate mini keyboards ;) Great key action that allows very rapid playing and controllable, consistant velocity. Only downside is bulky size (won't fit easily into my laptop bag) and the keyboard lacks any sustain control (the 25 version has a sustain button, though)

Korg Nanokey

This was my first venture into mini keyboards. Don't get this. You get better control playing on your laptop keyboard ;)