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Jay Rose

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About Jay Rose

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    Hero Member

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  • Location
    Boston US
  • Interested in Sound for Picture
  • About
    Sound designer and industry author. Member CAS and AES. Humor, articles, and studio info at www.dplay.com.
  1. From today's New York Times: Scientists are trying to make long-term recordings of the ambience in remote Alaskan locations, to capture the sounds of birds and bears and other creatures before they're drowned out by snowmobiles and flyovers. Except sometimes the critters act like actors looking for an excuse why they can't concentrate:
  2. Digital-analog sync sound

    Sync block and sound reader. Steenbecks are for wimps.
  3. Cuban Sonic Spying?

    If you go to YouTube, you can see a full res version of that spectral display. It's linear-for-frequency (rather than log) with combs or beats every 125 Hz or so. Unfortunately, there's no way to tell the SPL. The vertical scale is dBFS with no reference to what level the mic heard. But if this were loud, it would certainly be annoying. And if it were continuous, it could affect thinking... at least, it would for me. I've got to assume CIA or State or somebody has more details. Possibly even tried to convey the details to the reporter, but things got lost in translation. At least having pinned down the sound, we can dismiss the claims that this is nothing more than mass hysteria.
  4. Digital-analog sync sound

    Bonus! They can also project it that way, since Vitaphone ran at 33 1/3. "Jazz Singer" (original version) was a runaway hit. Maybe they're looking for its secret recipe...
  5. Digital-analog sync sound

    Mike, they could even get the analog sound more controllably, recording dialog with a good modern digital rig, ingesting and editing in the digital domain, and then just passing the predub through a realtime Nagra record-to-play head transfer. Or what the heck, printing the predub to 35mm mag. But it doesn't have the same cachet. What could be happening: 1 A lot of people still believe that digital is inherently "steppy", while analog is "smooth". (It can be proven mathematically -- and demonstrated easily in thought experiments -- that the ambiguity from digital quantization errors is exactly the same as that from analog noise floor, assuming you're comparing media with the same s/n. ) 2. A lot of people decided that digital is "harsher", because the first attempts were. That was before we had practical oversampling, so there was a constant battle between carrying HF and getting aliasing. But that's, like, early 1990s. 3. Production wants to gather PR points so they can be interviewed about how they made the film completely old-school.
  6. Post Resources

    Mike (and others), That's an awesome document! And it also led me to look elsewhere on the site... For example, http://sounds.bl.uk/Sound-recording-history
  7. Purchasing first Nagra deck

    I've owned a III and IV-S, and a Uher 4000... as well as an Arrivox. They were all good for what they did. The Uher was handy and light, and sounded incredibly good for its time, but operating features were limited. The III was rugged and easy to service, but not the most field-friendly. The IV blew everything else out of the water... for operational convenience and flexibility, for sound, for ruggedness*. If I had to go back to analog field recording, it's what I'd use. The Arrivox was a very odd duck, the semi-cool child of Arri's knowledge of what we wanted in a field pilottone recorder and Tandberg's pretty good "11" portable deck. Two mixing mic inputs, separately switchable filters and limiters and T power on each (I modded mine for phantom), tone osc, mother/daughter board construction, even a footage counter. I called it a "Nagra 3.5". -- *Requisite Nagra IV story: 1988 presidential primary campaign, January. We were in the middle of a large Iowa farm, on the coldest day of that year, just a few miles from the coldest spot on that day. It was so cold, the rubber on my mic cables cracked and I had to replace them. But the IV ran perfectly, and exactly on-speed.
  8. Post Resources

    From Producing Great Sound for Film and Video. The list is about three years old. American Radio Relay League (www.arrl.org) This amateur radio organization publishes many books about electronics, including an excellent primer, Understanding Basic Electronics, for $30. Their ARRL Handbook ($60 hardcover, including CD-ROM) is a 1,300-page technical encyclopedia, updated every year. Cinema Audio Society (cinemaaudiosociety.org) Organization of production sound mixers and boom operators, with an informative online journal, an active discussion board, and links to other film sound technical societies. www.JayRose.com My website. It has a large tutorial section, reprints of some of my DV Magazine and ProVideoCoalition articles, a two-hour video presentation on film sound, some spoofs of our industry… and information on my studio (which is how I pay for the whole thing). www.GreatSound.info Mostly about my latest book, but there's also some free downloadable stuff. Epanorama.Net Engineer Tomi Engdhal’s website: an immense database of contributed articles, circuit diagrams, and tutorials about audio and electronics. Equipment Emporium (www.filmtvsound.com) Educator and sound recordist Fred Ginsberg’s site, with lots of articles about soundtrack production, and downloadable manuals for some common gear. FilmSound.org Immense library of articles devoted to all aspects of film sound design. The site also includes discussions of more than 150 specific films, and essays by noted sound designers Randy Thom and Walter Murch. Gearslutz.com Busy forum (more than 10,000 members and guests) for people who love audio and its equipment. Most of the topics are about music recording, but there are active subgroups devoted to film/video post, studio acoustics, and equipment classified ads. Internet Movie Database (imdb.com) Cast, crew, and occasional trivia for just about every movie ever made—Hollywood features, made-for-TV, low budget indies, the works. JWSoundGroup.org Very active discussion group, managed by veteran Hollywood mixer and Oscar nominee Jeff Wexler, and populated by film professionals. Lots of topics (primarily about location and production sound), question-and-answer threads, and both technical and philosophical discussions. Free registration required to post, but anyone can read and search the threads. Quantel Limited (quantel.com) This film and video equipment manufacturer has assembled a large downloadable library on digital audio and video, workflows, and interchange systems. Rane Corporation (rane.com/tech.html) Rane makes equipment for commercial sound installations. Click the “Reference” tab on this page for a library of downloadable booklets, and a complete technical dictionary. Rycote’s Microphone Database (microphone-data.com) Published specifications for thousands of professional and semi-pro microphones, sponsored by this manufacturer of professional shock mounts and windscreens. Video University (videouniversity.com) This site has a few basic articles on audio, plus a lot of information about the technology and business of video.
  9. When lavs attack

    This is what happens when one mic has a male connector and one has a female.
  10. It would be fun to do sync dialog with lip mics. Well, not "fun" exactly, since the actors would be holding the mics. You'd certainly get a tight sound. The fun would be when the various picture departments start saying "we can't get a good close-up because of sound!" Turnabout and all that... ; )
  11. Most digital recorders [are designed to] erase all the sound. Then you add it later. Can someone tell me what that means? Are they talking about a lower internal noise floor? Do they like thermal and random magnetic noise? Or are they working with digital recorders that have internal noise gates (with the thresholds set too high), which are killing the backgrounds? The Zaxcom Nomad is very simple.... It has "room tone," which a lot of people don't want because they want to have full, maximum, clean sound. ...and that? Nomad is definitely an excellent recorder, but what are they talking about? Nomad's noise floor isn't significantly different from other recorders in that class. Obviously these folks are using 'all the sound' and 'room tone' differently than we might, but I'm not sure what they do mean. Help an older guy out!
  12. The Opposite of Mixing?

    New York Times has an article today about how the U.S. Labor Department tracks the skills needed for most jobs, in terms of things like "hand strength", "acute sense of smell", or "mathematical analysis". The article lets you enter the name of your job, and kicks out which job it considers to use the exact opposite set of skills. There's no entry for "production mixer" or "sound designer" or "postie"... but it will accept Sound Engineering Technician. Guess what.... we're not nuclear physicists! (Yeah, I know. The article isn't rocket science either, and its analysis has lots of faults. Think of it more like a party game.)
  13. Un-corrupt WAV files with Audacity

    I've had amazing results with software from Tom Erbe: http://www.soundhack.com/ ...not only turning raw into readable with headers, but also turning text and graphics files into audio... ...and a lot of sound design tools, like one of the best phase vocoders around. [Don't let the name food you. It's not a sound-effect-into-voice vocoder, but a way to do extreme time expansion on speech without audible splices or changing the pitch.]
  14. Pocket AES to analogue converter?

    Philip, thanks. That's the Gefen I was referring to. I've use a bunch of 'em.
  15. Audionomix? cleans up production dialog...

    no one should necessarily believe that anyone in particular has actually said anything, unless you are in the room and hear/see them say it ...and are close enough to hear them say it acoustically, and see their lips move in person. Between what we're getting to in synthesized speech, and the lip-sync apps our CGI friends develop, you won't be able to trust a giant on-screen Trump at a giant rally even if you're in the live audience.