sound references

Well to make a long story short after todays “discussion” about the sound of trailers especially the kind of bad sound of the latest Batman Trailer here are some of the as i call them reference trailers for good sound design & sound mix. But let me talk about some of the issues I’ve heard - especially today – real quick. There are several things going on that result in a real issue in terms of sound that in the end kinda demolish the whole trailer experience (since many filmmakers say sound is 50% of a movie … well that is also true for the trailer, now isn’t it?!)  The First issue is maybe a not so good recording of an dialogue or / and not the best edit or cleaning up of that (maybe even no ADR done yet). Second issue is a some sort of bad mix. Loud Music & too much Sounds playing at the same time. And 3rd … after all that / on top of that a kind of poor encoding at the post facility but also on YouTube.

There also was a lil discussion about how stuff is viewed / listened to … like on Phones or iPads or Notebooks and whatnot… but in the end it should not matter that much, it should sound good on almost every device, shouldn’t it?
I talked a lil bit about that on that blog post a few days back.

But as i said there are some examples of really good work out there that are actually really good.  Listen to that and “extract” some “knowledge” about the sound for a film, movie or Project out of all this. All that kinda applies  not only to a mix for a big movie or an awesome trailer. So all i want to do with that is to invoke people to care more and think more about sound… that’s all:

oh and BTW that is the Batman trailer that i was talking about … really makes me kinda sad bcuz the trailer it self (pictures and stuff) really is great and so will be the movie in the end (hopefully)
but that is (kinda) just a bit embarrassing especially for a big Hollywood movie.

BTW also take a look at some of the awesome work soundworkscollection is doing with great BTS of the sound work for great movies … here are some of my favorites:

also if you want to see & hear more about sounddesign & soundpost & sound-mix & stuff
join the  “its all about audio” vimeo group

Audio Monitoring and Levels

Well first of all this post is not for top-notch post facilities or audio studios. Its more for the one man shop or fellow that is just getting started with audio and/or video production at a home “office” or a smaller “simple” facility. So keep that in mind … I also will not go into room acoustic or Monitor placement (you can find some info in the KRK manual).

It really is more about how you can get the most out of an – maybe not so perfect – situation. Of course you also can translate this to any other “top-notch” post production situation.

Lets get stated: Regardless if you have a 5000 bucks or a 200 bucks audio monitor system you have to get used to them. Listen to stuff you like, watch your favorite Movies/ TV Shows and whatnot, that should help a lot judging sound with your monitors in the room you work.  At the same time you also setup your “monitoring level” (volume/output levels of your workstation / your Audio-interface). That is an essential part you always should have the same monitoring level especially in a final mix situation. It has to be a comfortable loudness so to say. If your monitoring level is too quiet, you will miss things you will mix too loud so to speak. If you have your speakers on too much power (too loud) you will mess up the signal that you hear, frequencies will kinda get mixed up, cut out, stuff like that (so to say)

It really is important to have that (good) base level. Re-check every now and then, also re-check with some reference tracks so that your ears can “tune in” so to speak. Nothing is worse than questioning your monitoring situation / loudness like “is that too loud or what is going on…?!”

You can use headphone for editing (actually you can be more precise with them) but don’t use headphones for the final mix. The Stereo-filed is way bigger than with normal Speakers and you have a different much stronger (wrong) “feeling” of loudness with headphones because they are much closer to your ears and there is no room in which frequencies can reflect and stuff like that. Belief me your headphone mix will sound much less exciting and less powerful on speakers.

Try not to use your video editing app (NLE) for sound mixing. Editing (Interviews and stuff) might be ok, you also can “layout” / arrange sounds and music or even do a pre-mix for the rough cut but always use an audio software like ProTools, Nuendo, LogicPro or even SoundtrackPro or Adobe Audition for the finial mix. You have more options, better plugins, better precision, more quality in these apps. Play with EQ and Compressor or even with Reverb and stuff like that to make your mix more exciting but don’t overdo it . (more about plug-in’s and settings after NAB / end of this month) Yes AVID MC6 has pretty good audio options with great Plugins now but if you want the best possible outcome you should use a dedicated audio software.

Last essential part (for today’s post) are levels. That can be tricky if your audio interface doesn’t have any kind of level-meter like the RME DIGIcheck. But you also can use and trust the level meter plugins in your audio software like LogicPro or ProTools. (the level-meters in the channel strips are kinda unprecise). SoundtrackPro and Audition have pretty good built-in level meters. Now what dB range is the best? Well if you work for broadcast that can be tricky because every broadcaster has his own rules / requirement but usually -10dBfs is the most safe way to go (broadcast level) but you really have to check with the broadcaster. If you do stuff for web-delivery or client DVD’s you should go for 0dBfs (or -1 for safety haha) That said it should not peak at 0dB all the time. Make sure u have some dynamic left. (your level meters should be between -20 and 0db …that is fine ) On that note: Level-meters in NLE’s are not that reliable, even though they are good to make sure you don’t clip your audio master. For anything more than that I wouldn’t trust them.

On last thing: Try to check your mix not only with your Studio Monitors also check it on stuff like your MacBookPro/ Laptop or your TV/Stereo at home or – as many music fellows like to do – in your Car. These are all “listening-situations” you are kinda familiar with. So u can hear if your mix sounds good even there and you can make changes if for example the VO is getting lost in the music or the other way around (most common issue).

So that’s it. Most important get experience by doing stuff, test stuff, re-check with reference tracks. Keep in mind that all this is only some sort of guideline. I do this for a little over 13 years now and I still learn new stuff with every new project

If something is unclear (might got lost in translation) or any questions are coming up please let me know and use the comments-section.

Oh, one little side note: Please don’t ask your audience to crank up the speakers or headphones … your mix should sound great no matter what (just saying)

UPDATE: it’s all about audio

UPDATED APRIL 8, 2012 – (original post date: Aug 25, 2010)

Well, what can i say that’s where i‘m coming from … 13 years ago ( or even more ) i started in radio broadcast / radio production … and did lots of things with sound … i don’t want to talk about that work now … i want to talk about some essential gear you need to work with your sound.

…. read more

Desktop Backgrounds for Sound Designers

Well …since i want to concentrate more on sound & audio post production…here are some desktop backgrounds & stuff for sound fellows:

Surround Wallpaper for iPad

and if you like there are some Tee’s as well!

iTunes 10.1.2 is cleared for Pro-stuff again :)

WITH THE UPDATE ITUNES 10.1.2 THE TEREO SOUND IS NOW CLEAR & GOOD !

… so iTunes 10.1.2 is cleared for Pro-stuff again

>>> old story about the itunes stereo issue

ProTrack Recorder for iPod & iPhone …a test

UPDATE:

So i went out and recorded some outdoor sounds with the ProTrack and H4 … i also did some tests in the studio with a NTG1 & NT1A studio microphone form RODE and also some stereo stuff

… in the end … well … the pro track is no real pro recorder for DSLR shooters. (IMO)

Here is why:

- very intense sound sync drift if  you sync it with a video (way more than with the H4)

- very noisy mic pre amps, no good stereo mic sound also very noisy

- very bad sounding limiter (even more noisy)

- iPhone causes odd sounds form time to time on the recording

- only 16bit, 44.1kHz Wave Redordinng,

- not to mention that the iphone batteries are empty quite fast

… well … even with the unit just at a price-point of only 50 bucks it’s really not quite useful after all  (sadly as it is actually a good concept)

That are my FIRST impressions after i got the unit and “played” with it for a few hours:

I saw a post from Philip Bloom on twitter one day, talking about that thing … and as my H4 is not in a good shape i was looking for a replacement and had a old iphone 8GB (not in use anymore) anyway. So i’d  go for one.

Well… basically its more like a mobile docking-station for an iPod or iPhone (does not work with iPhone 4 though) that has a built-in Stereo-Mic and two phantom powered XLR inputs to plug in some pro mics (like a RODE NTG1 in my case)

It uses the iPod or iPhone as recording-device. So in my case i have almost 6 GB recording space, which should be ok for Interviews and stuff.  iPhone users need an extra piece of software from the app store on the iPhone called iProRecorder which is (4.99 right now … that is ok). Its a quit nice app if you ask me … (more in depth “review” on that in another post)

So a little something about the unit itself:

Build quality is not the best in the world but over all ok … especially for 50 bucks ( that’s the price for that …. that’s right … 58 EUR back here). For iPod users there are some plastic cover shields for the unit included … iPhone & iPod touch users have to buy them separately for around 10 bucks … but they can be useful in the filed.

Really nice is that this thing has phantom powered XLR inputs you can plug in condenser mic’s. You can use these as instrument inputs as well (didn’t test this though) The iPod charging functionality should not be used during recording as it generates a lil annoying sound which will be recorded as well.

The unit has a headphone output that can be useful. It’s not the best in the world though… not as clean if you power it all the way up, so some of the noise you will be hearing in your headphones will not be on the recording itself.
Speaking of noisy … the built-in limiter is not really usable as this thing adds a lot of noise / static to the signal. Use the limiter only if you really have to. You will not be happy if you record (in) quite surroundings / environments with a turned on limiter.
I also would not use the “Stereo to Mono” option / switch as it combines both signals to one mono-track …so it will add any noise level of the “unused” path / input to the mixed signal … if you want the cleanest possible recording, just delete the “unused” track in post (quite easy in FCP) .

Leveling is nice but if you used to a Tascam-Recorder you will notice that it’s not super precise … but usable.

The built-in Stereo-Mic system is ok … i like the H4 Stereo-Mic a bit more (sound-wise)

The unit is powered by 4 AAA’s (yep i know rather unusual … didn’t have any of these) … will to a runtime test later. You can power this unit also via AC Adapter – which is includet!

So in the end, a nice unit for the money… so far.

Now i did some first test recordings … to see how it works & sounds … and what the workflow is to get the WAVE files into FCP … and how the 44.1 kHz stuff turns out.

BTW sorry for the german accent … i’ll work on that over the next few recordings … i promise ;)

 

 

I really like the app on the iPhone. You can actually name your Tracks and sort them in categories, which can come in handy … (will go over the software in another post) …its nice to use. Make sure you are in flight mode – as you don’t want any of these mobile phone sounds / interferences on your recording (WLan is ok BTW)

Ok, after the recording  is done … and now i can only speak for iPhone & iPod Touch users (= same iProRecorder app) … you can send you files via email… which might not a good way for large files. Or upload them… which i didn’t try. The other way is via “Local Web Sharing”. For that you need WLan and another Mac or PC hooked up to that …

You type / open the URL the iPhone app gives you in your Browser on your Mac or PC and you will get a nice list in your browser. Now you simply download the files.

As soon as you have all your files (sadly it doesn’t  adopt the titles you typed in)  … you have to make sure to convert the files to 48kHz. I use a free app called “switch” for that.

I convert to 16bit, 48000Hz, aiff … still stereo … as i cut the “mute” track / part in FCP (i used just one Mic/input for this recording)
I just did a sync by hand in FCP with the 60D audio file and the converted ProTrack file … well … and there comes the issues (as i actually suspected): Even with my 3min 30 sec (or so) file/recording i noticed a sync/sound drift between 60D & ProTrack stuff right after 1 min or so and it got really hearable around 3 min. Well for that Test video that was no real issue as i had no lip-sync recording – for like an interview – to provide. So that is bad news – in a way. I’m not sure right now what the problem is (ProTrack Recoding at 44.1 or converting or FCP or even 60D…) For some stuff its not as much of an issue as it is pretty much for Interview in a double system recording situation. You could fix this in editing as you line up the tacks with every cut … maybe sync tools can help… but it will be a pain with 10-15 min or longer interview stuff. So i will definitely look into that. Stay tuned.

Here is a lil iphone video to “show” you real quick how the drift “sounds”
http://www.twitvid.com/BEDX4

 

UPDATE:

i tried  differed stuff … another software (Soundtrack Pro…) and some tips i’ve got form my twitter buddies (like JJ Kim …) to speed this up or slow it down in FCP … (tried 99.8 and 99.9 % speed) but that only shifts the “problem” to another part for the Timeline (if you will) even its actually really a bit better.

Over all its a nice solution. Quality is good for the money. It will be usable … not for high fidelity Recordings though. I will test this unit for SFX and Atmos as well in the next few weeks. But first i have to find a fix for that sync drift.

UPDATE:

As i mentions on top: it might not be a real pro-recorder for DSLR shooters … it is no H4n replacer ! … more like a backup recorder if you really have nothing els to spend the 50 bucks for. You may be better off with a Zoom H1 and a extra some sort of mic pre amp ( 9V batterie powered) for XLR inputs. (like that one: http://cheesycam.com/inexpensive-dual-xlr-microphone-preamp/). You will get better sounding results even though that “setup” is more bulky  it might work better after all.

For more specs go to: http://www.alesis.com/protrack

on a side note: a lil Zoom H4n to Tascam DR100 “comparison” by theC47:

it’s all about audio

Well, that’s where i‘m coming from … 12 years ago ( or even before ) i started in radio broadcast … and did lots of things with sound … i don’t want to talk about that work now … i want to talk about some essential solution gear you need to work with your sound.

Audio Software

First of all its the software you are using for post. well there is ProTools a really great tool i really love ist … but its the mots expensive one you can get … and the LE systems are not  up to date ( with just about 48 tracks working at the same time … )

Nuendo is the most advanced Native System but its expensive too … but if you want all the option AND you have the money (or a windows machine) go with that … cubase is good too but more Music oriented… but it should work too (especially if you have an windows machine)

I use LogicPro (version 8 o. 9 is quite good) cuz it’s the best solution for the money … and you get tones and tones of samples, loops, and sound-fx to work with (great stuff … we us  them all the time) … and if you just about to start try LogicExpress … its great for starters.

Well we got that covered …  now i could go thru all the fancy stuff i like or would like to own … but the reason for this is to let you know the essentials of necessary things you have to have…

So here is the cost-effective Version of stuff i know and or work with (so i can recommend it

Audio-Interface

At first you need an Audio-Interface that also enables you to record something with an mic … that even could work both – in a studio-like-envoierment for some kind of Voiceover or Podcast-recording and on Set as well as an on Location to Notebook recorder.

On thing you have to keep in mind with this „audio-interfaces“ the digital inside is almost the same … you get good quality with all new Interfaces … only thing  that different is the built quality, noise level and quality of the Mic-Pre-Amp and the driver for your computer. In the end you have to consider how professional your interest  is …  you can get good results even with the cheaper stuff.

super cheap:

Tascam US-100 USB 2.0 Computer Audio Interface

Tascam US-122MKII – USB 2.0 Computer Audio Interface

quite good:

PreSonus AudioBox USB – Audio Recording Interface

tc electronic Desktop Konnekt 6 – FireWire Audio Interface

more pro‘ish:

Tascam US-800 – 8 Input, 4 Output USB 2.0 Audio/MIDI Interface

Tascam US-1641 – USB 2.0 Recording Interface

All are good & workable … i don‘t recommend M-Audio or Behringer … not that good of a quality and you will run in some software / driver problems (i had them …a pain … really)

On thing you can use the Zoom H4n as an Audio interface via USB you can even use the XLR inputs  but it’s not made for that in the first place … so you don’t have that much of options & quality to monitor (just a headphone jack . not that good for connecting Audio Monitors)

next part – i make it quick:

Microphones

Quite good for voice over recording in a Studio environment  or Podcasting is a Large-Diaphragm-Condensers (you need phantom power which all the interfaces on top have even the H4n)

i like, use & recommend

Rode NT1-A
Great sound for male Voiceovers, very powerful but a lil explosive sensitive so make sure you haven an pop-killer.

AudioTechnica AT3035
Very open and nice clean sound … pretty much an all-round mic even for female voices not that intense & powerful (AT4033 might a better solution)

quite ok too are:

MXL Mics (like the MXL 2006)

Studio Projects or SE Electronics

voice-talent in our recording room with the Rode NT1-A

actor on a AudioTechnica AT3035
(he has an higher/ midrange voice so that mic fits better

he has an lower / powerfull voice but i needed an cleaner,
more open soundso its the AT3035 again.

i needed an lower powerfull sound ... so the Rode NT1-A it is

Ok last thing you have to have and quite important as well:

Audio Monitors / Speakers

… make sure you don’t get the cheapest option …. they most likely sound like that … and if you mix some soundtrack, voice or music you son’t want that. so in the end you have to know your speakers (so listen to you favorite music, movies and stuff to get familiar with them in your environment and if you have the chance even test some speakers with your favorite Tracks before you buy them … you always should consider powered version (with amp built-in, cuz the amps are 50% of making the “sound” of an Speaker

i would recommend:

Fostex PM0.4 as an budget- / cheapest version

KRK RoKit 5 G2 for smaller rooms
KRK RoKit 6 G2 for normal usage

both KRK’s are very clean & powerful … very universal to use

maybe even M-Audio Studiophile BX5a or BX8a

i don’t like the very cheap M-Audio or Edirol stuff you won’t have any “fun” with them… believe me.

You might want to have even some headphones … but don’t make you master mix with them … most likely its to “powerful” (loudness)when you listen with them and you will get disappointed when you hear it on speakers;)

so i would recommend Sennheiser HD 201 they are quite inexpensive and good sounding for the money (not that cheap of a midrange sound cheap headphones have) and they are quit comfortable to wear over a longer period of time.

So that’s it we got the essentials covered …. in the end its a matter of Taste and money and experience… you can make work everything

KRK RoKIT 5 G2 acting as surround monitor for an 5.1 mix

We use Sennheiser HD201 with your new LogicPro MBP 15,4′ i5

the small Fostex PM0.4 ... quite nice for the money

KRK RoKit 6 on our main MacPro (love them)

Oh one more thing

My “high-end” version … if you have some money to spend … try this: (but i let you know, there even some more expensive options)

Interface
RME Fireface 800 or 400 (i use)

Microphone
(studios we rent have them)

Neumann TLM 103 or U87
Rode Classic II
AudioTechnica AT4033 or AT4050 (i use)

Audio-Monitor
(studios we rent have them)

Dynaudio Acoustics BM6A
or Yamaha MSP7
or KRK VXT6
or KRK Expose E8B

Headphones:
Beyerdynamic DT 770 Pro (i use)
(studios we rent have them)
or Beyerdynamic DT 250
or Sony MDR-7509HD

BTW for all my European fellows great vendor i recommend: http://www.thomann.de/

Our RME Fireface 400 for mobil recording & in the "Office"
on the  MBP 15,4' i5

Our main Audio-Interface: RME Fireface 800 on the MACPRO