Eecorded by 11-time Grammy nominated classical recording engineer Prof. Keith O. Johnson, and produced by Doug Rogers and Nick Phoenix, the EASTWEST/QUANTUM LEAP SYMPHONIC ORCHESTRA is the most awarded orchestral collection ever, and the only orchestral collection to be recorded in a "state of the art" concert hall where orchestras mainly perform.

EASTWEST/QUANTUM LEAP PIANOS is the most detailed collection of the world's finest grand pianos ever recorded and includes a Bechstein D-280, Steinway D, Bösendorfer 290, and Yamaha C7, each recorded with 3 mixable mic positions. "These are real acoustic piano sounds. I'm absolutely amazed. EastWest/Quantum Leap has gone the extra mile to provide stunning quality acoustic piano character - the whole collection is superb!" said 12-time Grammy winning pianist and composer Herbie Hancock. "The new meaning of heavyweight. Players agreed that EastWest/Quantum Leap has by far the most detailed and biggest-sounding pianos of the bunch." Said KEYBOARD Magazine. The PLAY interface includes impulses from the same hall the producers used to record Symphonic Orchestra and Symphonic Choirs so the pianos can blend with those collections

Links

• http://www.soundsonline.com
• http://www.soundsonline-europe.com

If you are interested in music check it out. Csound is a very simple language made up of more than 1000 Opcodes which allow you to send data (and audio) all over the place.

With Cabbage you can make a simple GUI for your effect- or instrument. Cabbage also comes with a tone of example scripts.

Cheers, A

So I started looking at stereo microphone and remembered the Mitra with philip bloom,

that sounded fantastic. But the price was a bit high, and I saw other like the Audio Technica BP4025 (a bit high also). some example here http://soundcloud.com/ausavim

Further searching I saw another system called Binaural recording when people use mannequin head and ears etc to really simulate human hearing. A company that does it http://binauralears.com/

I don't know what you lot think, but this was really a revelation to me about getting the big movie sound. From what I know is that lot of the sound effect and mixing are done in post to get the stereo or 3d effect. But some of these solution seems more appropriate to the indie crowd.

I'm not certain it even went national--it's sort of a genre piece--but I'd like to create a story to match the lyrics.

Is there a way to do this legitimately?

Is it expensive?

Is it even important?

Do I need to find out who owns the rights, and if so, how?

TIA

RBD

Features:

• Unlimited audio and MIDI tracks (depending on the device used)
• Over 70 virtual instrument sounds based on HALion Sonic
• Mixer with over 10 effect processors (insert and send effects)
• Over 300 MIDI and audio loops
• Virtual keyboard and virtual drum pads
• Sample Editor and Key Editor
• Export to Cubase, Dropbox, SoundCloud, AudioCopy and email
• Core Audio and Core MIDI compatible hardware supported
• Sequence other Core MIDI apps (MIDI recording only) and run Cubasis simultaneously via background audio
• Import audio from your iTunes music library or using iTunes file sharing, use AudioPaste or set up a Wi-Fi server in Cubasis
• Audio mixdown and MIDI export

iTunes page - https://itunes.apple.com/us/app/cubasis/id583976519

App page - http://www.steinberg.net/en/products/ios_apps/cubasis.html

I have a small mxf and quicktime pips session for pro tools alignment if anyone wants it PM me.

However, the client seldom manages to come up with the un-mixed multi track copy, yet gets the producer's permission to go ahead.

So-oo, I'm just wondering whether anybody has had any luck trying to erase the voice alone from mixed audio which might have a background of sync sound, maybe music and atmos,. [No, the budgets these clients propose do not extend to the painstaking re-creation of all audio tracks].

Since I'll be laying down another language voice-over, largely on top of where the original voice-over existed, I'm thinking maybe I could get away with reducing the original voice to a mere murmur and the new voice might cover up the old one.

I'm a life-long smoker, and I found out, much to my chagrin, that I have labored breathing.

Which is to say that using the built-in microphones in my GH-2 last weekend to shoot a woman of transcendental beauty, one can hear me breathing in the background.

I need to edit this out.

My suspicion is that I could find an otherwise silent spot in the video, identify the frequency of the offending sound, and filter it out.

From what I know--virtually nothing--of FCPX, this is not one of the features of the software.

Is there another, relatively inexpensive program that would allow me to do this?

Thanks in Advance.

RBD

N.B. Yes, next time I will use a directional mike.

• Introduction to Loudness – 101 Loudness explaining the basics in an easy-to-read, easy-to-understand fashion.
• Broadcast Standards –What are the differences between the current standards? What are the significant details that are important to be aware of as a broadcaster or a deliverer of broadcast content?
• Applications –It is one thing to know the technology and the standards involved, it is another to know how, where and when to apply the technology in real-world situations.
• Events – TC has hosted several loudness seminars and have been present at broadcast and pro audio shows all over the world. An 'Events' page sums up these activities and is also a valuable source for in-depth videos.
• Literature and Glossary – TC provides a massive collection of white papers describing and discussing all kinds of aspects of loudness technology, and finally there is also an extensive glossary explaining terms related to loudness.

Check it out - http://www.tcelectronic.com/loudness.asp

http://www.magix.com/int/samplitude-music-studio/detail/

I was thinking of getting a small unidirectional mic (such as the Rode VideoMic) to mount on the camera, but to record the audio onto my iPhone. Any tips from the pros and seasoned amateurs out there?

Recommend.

Really quite fun thing. In USA it is especially cheap ($399 now).

Small, extremely light.

I am not keyboard man, so I like mini keys.

As they are small and fast.

Yep, and video manual is also supplied (and is available on youtube) contrary to Motif XS.

Site: http://dawremote.com/

Appstore: http://itunes.apple.com/app/id501974930

The standard method for ADR is to replay the video scene back to the actor on a monitor while they try to sync their replacement dialogue with the original recording. However this still somewhat hit and miss because the actor is almost always either lagging or leading their original dialog.

Why? Because they cannot exactly see the precise moment when each word begins until it has begun, at which point they are often late. Alternatively they try to second guess the timing and pre-empt themselves.

Instead of playing back their original scene as a cue give this a try.

Let the actor view the audio waveform of their original dialog on a NLE video monitor... a bigger monitor is obviously better than smaller one.

Minimise the amount of dialog on the screen at any one time to ensure the waveform of each individual word/phrase is clearly defined on the screen. If there is a lot of background noise contaminating the dialog then either remove it or at least minimise it so the individual waveforms for each word are clearly visible with well defined starts and endings.

Let them watch the screen while you loop the section of dialog several times over. Point to the cursor as it moves horizontally across the screen so they can see as the cursor hits the start of each section of waveform representing each spoken word of the orignal recording.

As they watch the cursor cycle across the screen they will quickly identify which section of waveform corresponds to which word they're hearing and thus deliver each word the moment the cursor just reaches the start of each section of the corresponding waveform.

With a little practice they should now find it easier to achieve fairly accurate sync and they can then concentrate more on the delivery and emotion.

Try it yourselves. You should find it is much easier to achieve accurate sync than by simply watching an onscreen video of the original take.

Of course capturing good sound on location is always preferable.

I'm looking for a PC alternative. I use Vegas for video, Cubase for music, but since I'm no longer in audio production I find Cubase being way too complex instrument for my basic video needs. I don't want to program custom drum loops and create midi score from scratch, tweak EQs and FX for hours - all I need is a quickie-bricky loop based construction toy where I can drop few loops and pre-made fx on a timeline to create a jingle for an advert for instance.

Any recommendations? Few years ago I checked Sony Cinescore before it got discontinued and SonicFire but I found them to be not as elegant as Logic. Any progress in this realm ever since?

http://www.singularsoftware.com/downloads.html?utm_source=newsletter&utm_medium=email&utm_content=body_text&utm_campaign=pe3beta#pe3_m

1. What audio edit program you recommend for Windows? Is Pro Tools any good?
2. Is there some basic rules that you should remember in audio editing? E.g. what the volume should be and how to measure that.
3. Some tricks you should do? I heard about compressing and limiting but not quite sure what that means.
4. Good tutorials (in video) online?

PreSonus is now shipping Studio One Free, a new entry-level version of its DAW for Mac and Windows. Intended for beginners who don't yet need the advanced features in Studio One Artist, Producer, and Professional, Presonus says that Studio One Free provides all of the recording and editing features needed for basic music production-and as its name implies, it's free.

To get Studio One Free, simply download the Studio One installer from the Studio One Web site, install it, and then choose to run it as Free when the activation dialog comes up. Once you have downloaded the application, you can use it immediately; no Internet connection or user account is required, no product key is involved, and Studio One Free will not time out.

This new version of Studio One has some of the features originally found in Studio One Artist, including the single-window work environment, the content browser with Search, powerful drag-and-drop functions, Control Link MIDI mapping, sidechain routing, automatic delay compensation, real-time audio timestretching and resampling, unlimited audio and Instrument (MIDI) tracks, unlimited effects channels, and unlimited channel inserts and sends. Use native key commands or choose key-command sets from Pro Tools, Cubase, or Logic-or use the included editor to create your own key commands

More info:

http://studioone.presonus.com/free/

Personally, I'm looking for the sounds of buzzing flies or one buzzing fly and of mice moving about / screeching.

Cinematix virtual instrument features:

• Simple yet powerful interface
• Gates and arpeggiators
• Stack module synthesis
• Sophisticated Chorus and FX
• Advanced automation
• User friendly
• Integrated, full-featured FX racks
• Expandable sound architecture
• FM Oscillators
• Up to 128 oscillators
• Unlimited number of notes
• 4 Effect sends and 2 inserts per instrument

Find more at http://www.gearwire.com/dasample-cinematix.html

Here some specs:

• about 1 minute (up to 1:30)
• happy, friendly
• exciting (like rising mood)

The video is with kids playing and some architecture shots of the building where he kids are. I want to show that the kids have very much fun there. And this is getting more and more clear to the end of the video.

Hope you can help me :D

Thanks, Luc

The first one will have a link but the others will have names only until I dig them up for you. :)

This post will be updated as I have time and more contact info.

Violin:

Jeff Edward Ball

Here's the quick link to the violin performance section of his site. http://jeffedwardball.com/wordpress/?page_id=12

I've enjoyed Jeff's music since late 2003 or early 2004 where we met while working toward our respective composition degrees. He's played in the Seattle and Walla Walla symphonies, appeared on several high profile game soundtracks (from Bioware to LucasArts) and is a composer and arranger himself. He also engineered Katlin Rivers vocal recording for my 2009 single "Escalation".

Some of the reasons he's a great session player is work ethic, lack of ego, consistency, flexibility and professionalism. He's a chameleon, able to decipher and deliver a variety of styles with a special talent for emulation when called for.

He's capable of transcribing or arranging parts from recordings and of course can do his own bowings, so you don't need to hire a separate arranger to use him. He's also a capable conductor.

He can record sessions in his own project studio in his own time (his preference and the cheapest option) but is also available for on-site recordings (provided travel is covered). He is currently based in eastern Washington State.

Nimrod Nol

Nimrod's sessions first appeared in my work over half a decade ago in "Not Here". His diverse performances have included everything from touring with Kelly Clarkson to multi-ethnic electronica groups as well as ongoing collaborations with my frequent partner, Joanna St. Claire (notably on our album "Stream").

http://itunes.apple.com/us/album/stream/id375698520

He's a passionate player with the aura of a mystic or (if you'll pardon the non-PC term) gypsy who can coax some truly visceral and primal timbres out of the violin. He's an adept improviser that has created many of the parts I've heard him play on the spot and demand - he's great at playing by ear.

Nimrod is currently based in Israel and does not have his own studio.

Guitar:

Roberto Montero

• Acoustic Guitar
• Brazilian Guitar
• Electric Guitar

http://robertomontero.com/

In addition to his site, you can hear Roberto Monetero's work on the Joanna St. Claire album I co-engineered, "Stream" where (among other pieces) his work as a guitarist vocalist, vocalist (and his spoken word) are featured on the track "Jasmine".

http://itunes.apple.com/us/album/stream/id375698520

You can see more of his bio on his site.

Roberto is a soft-spoken acoustic, Brazilian and electric guitar performer (he also does good backup vocals or vocal harmonies). He also speaks Portuguese as well as English and his vocal harmonies blend well with both male and female vocalists. I would characterize his Brazilian guitar playing in particular as beautiful and effortless. While providing him with an arrangement is obviously helpful and preferrable, he's good at improvisation.

Roberto is currently based in the Los Angeles area. I have only worked with him on-site but seem to remember that he can provide recordings on his own as well.

Okay, that gets things started - I've got to get to a mixing session or I would continue. :)