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Jay Rose

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About Jay Rose

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    Boston US
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    Yes
  • About
    Sound designer and industry author. Member CAS and AES. Humor, articles, and studio info at www.dplay.com.

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  1. Back in the early days, we were showing a new production-centric DAW at NAB. Unlike the hard-disk versions then on the market, which required visual zooming and then shuttling, it kept current audio in RAM so you could turn a weighted scrubwheel and mark edits as smoothly as tape without zooming, and with precision down to a few samples. Much faster, and saved a lot of mousing and undoing. One visitor acknowledged how fast it was, but said "Sure... but by zooming in with my ProTools, I can edit things you can't even hear!" We asked why he'd ever want to.
  2. Jay Rose

    iZotope RX 7 tease

    6 Advanced introduced neural network processing for dialog isolate and de-rustle, a big advance over even the best algorithmic processors. In fact, a lot of times I use dialog isolate instead of conventional noise reduction -- even izotope's -- because it actually eliminates some of the noise instead of just letting it hide under the spectrum of the desired sound. I suspect 7 will not only add more NN functions, but also tighten up the training on the two existing NN modules. [I'm sure most of us on this forum understand the terms I've been throwing around. If not, here's an article on NN I wrote for CAS Quarterly. There's plenty of info on multiband expansion for noise reduction, which is how almost all the conventional "lern the noise first" plugins work, in my books and other places. ]
  3. Jay Rose

    Wich smartphone audio recorder APP?

    TwistedWave doesn't let you record a mono signal to two different channels at different levels. But in a phone environment, I don't think you want to do your "dynamic range extension" in software... because that's after the (usually 16-bit) ADC, which is where any noise or clipping would originate. If you're using a mono input (like on many phones), it wouldn't buy you anything at all: what comes out of the ADC is as good as it gets. Why just not just make an adapter that sends the mono signal to both tip and ring of an external digitizer's stereo input, with a simple voltage divider on one channel? If your mic has an XLR, you could put the resistors into the XLR-F connector. I even did that in a QKT adapter I had to throw together for recording phone interviews on a Tascam pocket recorder, so I wouldn't have to worry about sorting local and distant levels in post.
  4. Jay Rose

    Wich smartphone audio recorder APP?

    I use the Motiv app and mic together. But for all my other mics -- through a Focusrite iTrack -- I use TwistedWave. TW IOS records up to 96 kHz, can be set for 32 bit internal files if you're doing any processing, will record from a Bluetooth source, has decent editing and internal effects, lets you edit metadata... (TW Mac became my go-to desktop editor when I'm not in the studio, after Bias Peak died. So when I needed an app for my phone, it was my first look. Worth investigating.)
  5. Jay Rose

    Second degree encounters

    I've never had the visual skills to be a good pix editor. But boy, after a few years on CASS, I was fast and flexible on a 3400... it's just that someone else had to tell me -where- to cut ; )
  6. Jay Rose

    Second degree encounters

    1988 I was cutting sound digitally... well, it was analog sound under digital control. In 1986, we became an early site for the CMX CASS system. We put it in one of the 24-track rooms, specifically to speed up cutting and mixing TV tracks. Remember, East Coast-style video TV productions didn't use dubbers, but built their shows up on a multitrack. (We had one dubber for FXR, which we'd sync our multitrack to when a client brought in multiple units.) CASS was an IBM XT computer controlling a bank of Adams-Smith synchronizers for the tape decks, a bunch of VCAs in the MCI console for mixing, and a Mac where I'd hacked the mouse button to a GPI for digital effects and sequencer start*. User interface was almost identical to a CMX 3400, with the addition of mix automation. [* - Sequencer spoke to a K250 for music and rackmount Akai sampler for selected effects. So we had some digital audio.] It was awesome for laying in effects or VO precisely, or doing 3-point edits where a hit point lined up with a frame of pix, and the in- and out- happened automatically. Usually its one-frame resolution was sufficient... but when we wanted to do fractional-frame bumps, we could advance the source a full frame and route through a DDL. More adjustable, and faster, than moving film one perf at a time. [When I wanted really tight VO editing, I'd cut on 1/4" first, then stripe the result to lay in via CMX.] A lot of what I'd learned on CASS got used when I was helping develop the AKG/Orban broadcast-specific DSE7000 and Audicy workstations.
  7. Jay Rose

    Please Post SIlly Things

    FWIW, modern cellphones started adding extra functions like cameras because there was a lot of extra space inside! Even though the necessary chips had gotten a lot smaller, there was a practical limit to how small the whole device could be if people were going to enter numbers with their fingers. So manufacturers started adding the other stuff because the incremental cost was cheap and it provided differentiation.
  8. Jay Rose

    You & #MeToo

    When I suggest couching a story in ways that make the medicine go down easier, I'm not saying water down or 'clean up' the story. The truth shouldn't change. It's more a question of presenting something horrible but without making the listener feel personally attacked, and instead can see how they (or their world) would benefit by acknowledging the problem and helping find a solution. Excellent article in last week's New Yorker about the fight for wage parity at the Beeb...
  9. Jay Rose

    the malware myth

    Thanks for the excellent summary. Now... if only we could persuade Apple to update the pro tower hardware...
  10. You might want to give a shout to Trew Audio in Toronto. They're a knowledgable and helpful pro dealer for film sound equipment, and can give you the latest info on wireless.... what's available to try on rental... what they have in used inventory... and where to get cables made locally.
  11. Not a great analogy, unless the iMac/netbook also sometimes loses chunks of pages for no discernible reason, the type sometimes gets fuzzy (also for no discernible reason), and occasionally the text from two different sites gets mixed together. Wireless is one of the types of gear where more money almost always equals a better experience. You've obviously given this a lot of thought, so I'll assume you're asking on this forum just because you want our knowledge for additional background and tips. We've given you what we know. Go ahead and try... you might get lucky. (Whether you want to try by purchasing the equipment or by first renting it a few times is a different question. You know your finances, and what your local dealers are like.)
  12. Jay Rose

    The "Best client/producer/agency quotes" thread

    There were. Many producers, DOPs, directors etc are visually oriented to the extent that they don't even hear sounds when they're distracted by images. They note the content -- all the words appear to be there -- but aren't listening to the sound. Their auditory brains don't turn on until they're listening to the track by itself. Then their political brains look for someone to blame.
  13. Wireless - particularly these days, in multiple ad hoc venues, with midprice analog equipment and no pro knowledge or tools like a scanner or souped up antenna or helpful rental house - is fraught with danger. Shifts and reassignments have made bands a whole lot more crowded than they were ten years ago. You can lose signal or have random noises, or even have somebody else's show breaking into yours. Having two wireless hops is twice as fraught. Wire is always better than wireless (until you get into $$$ digital systems). Distance, line of sight, elevated antennas, and building construction can also have an effect. If being a performer is important to you financially, don't try to do this yourself. Check your local pro film/tv sound dealer, see what they recommend, and try some loaner or rental systems before you decide.
  14. Jay Rose

    Good price on 7506 headphones!

    Sorry my thread turned into a religious war. I just wanted to point out a bargain. I have heard, from Amazon (as an associate and author) and from news sources, that they're starting to tighten up on counterfeits and ban the sellers. Of course dodgy sellers can simply give themselves a new business name and try again... but that's a problem with most of today's modern services, from spam phone calls to FaceBook. In general, things sold by Amazon themselves (rather than shipping as a fulfillment house or just relaying the order to someone else) are legit... they probably don't want the liability.
  15. Jay Rose

    Good price on 7506 headphones!

    As part of Prime Day, Amazon is selling Sony 7506's for $72 ($80 Prime price, with 10% off if you use their charge card). https://www.amazon.com/Sony-MDR7506-Professional-Diaphragm-Headphone/dp/B000AJIF4E/ref=sr_1_1?m=ATVPDKIKX0DER&s=musical-instruments&ie=UTF8&qid=1531840617&sr=1-1&refinements=p_6%3AATVPDKIKX0DER
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