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Jay Rose

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About Jay Rose

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

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  1. If you’ve got the capital, it’s what I call a “spreadsheet decision”. Lease? What’s the total of your payments over time. Plus any cost to buy outright at the end of the term. Less how much the money you didn’t spend upfront would have earned you (here’s where the recursive feature of a spreadsheet really comes in handy, since that principal decreases with each lease payment). Buy? What’s the best cash deal you can make. Less any resale value if you don’t intend to keep it. If if you don’t have the capital, you still might be able to get a better deal ( or used or demo gear, often not available on lease) by borrowing cash, possibly secured by other gear. Often the interest rate will be less... and the loan may have better early termination terms than a lease, if you get some extra bucks and want to buy it out. In my experience, the tax implications are often minor. You can deduct lease payments... but you can depreciate owned equipment. Under current US law, you may be able to expense the entire price of owned equipment the first year. But I’m not a lawyer or tax accountant... the rules for you - even in the US - may be different.
  2. So now I have to doubt everything I've learned about Baseball and the Civil War? 😉 -------------------------------------------------------------- Update: About six hours after I sent correx to the Times' news desk, the article quietly changed to:
  3. Today's New York Times has a nice article about early country music recording and its stars. Also this: ...which would surely amaze the engineers trying to make magnetic recording a practical music medium before we captured the German innovation of high-frequency bias after WWII.
  4. Thanks, Philip. I’ll check with the production how it’s going to be screened. If a computer file, yes, LR makes sense. But if he’s planning to come in with a DVD, I’m leaning toward Ac3 LCR. I’ve seen too many LR DVDs badly de-matrixed, including one of this director’s (with his $ partner hard left in the front row, complaining about the mix).
  5. Interesting thought, LD. Narrative or editorial holes aren't my department, fortunately. The director and editor are very good and we've all worked together before. Playing with historical stereo fields might be an idea. I'd usually do that with bandwidth. It'll be a tough sell to add crowds, however: director has already told me he doesn't want any sweetening on the historic media, and scoring will be very sparse. (Credibility is very important to him on this one.) I did something similar on a music docy for the same guy about seven years ago. This traced the history of a very important club in Harvard Square, and included half-century old mono club recordings of Joan Baez, Bob Dylan, etc along with contemporary interviews and performances. Often I'd do something like letting the narrator introduce an archive performance, then dissolve to the mono of Joan center plus LR. After a verse or so, I'd fade Joan into a heavily stereo-simulated version to clear the center while the narrator came back. The stereo sim was mostly complementary combs rather than verb: I didn't want to distance her, just make her more of a 'surrounding' memory. (Film's IMDB. The whole thing is on Amazon Prime; there's a heavily compressed clip of one of the Joan interviews on YouTube. Hearing it again, I sure wish I'd had RX7 in those days...)
  6. I haven't heard the clips yet, but from what I know of the modern interviews, they're all over the map: different offices, different crews, different acoustics. Probably a bit of (mono) verb already on them. I can probably de-reverb the historic stuff in the interests of cleaning it, but my biggest goal with the modern stuff has to be consistency. But you raise an interesting point about LCR being identical. I might play with very small delays from C>R and C>L, slightly different for each, so that Haas forces the perceived source to the center of the screen. Everybody hears dialog, and the audience on extreme left and right of the screen hear less of the pre-signal coming from C so there's less of a Haas drawing them across. I'll have to play with a couple of DVD decoders to see if it messes them up further. (Yes: I know there's plenty of good reasons to keep dialog in the center only. And I know DCP is the right way to do this. But I'm trying to compensate for other realities here.)
  7. (Note on subject line: I'm referring to this current posting. General comments about my sanity may also be accurate, but I already know I'm cuckoo.) A producer that I like came to me with a semi-freebie: a two hour theatrical documentary about a 50-year-old piece of American history, with lots of contemporary interviews with the folks involved plus historic clips. He's also licensed some scoring from a 1960s mainstream feature as a contribution. I like the guy; he's given me real projects in the past, with real budgets and real schedules, and I want to do this one. Along with very little money, he has very little time. I'll get about eight days for dialog edit, premix, M&E, and remix. Then it gets one very visible screening. After that, there'll probably be time and bucks to take it apart and tweak. (Even if not... as I said, I want to do this one.) Here's the rub: 1) He's reluctant to do a DCP right now, mostly because of the lab time involved. He's expecting to grab my final mix, hop on a plane, and be doing compression while he's flying to the venue. I know from bitter experience that anything shy of a DCP can be mangled by a theater's DVD or similar playback. 2) He doesn't want sweetening in the historic clips; just original footage as best I can clean it. He doesn't want scoring under the interviews; just the folks' voices. There's very little narration. It appears the only music, other than main title and credit, will be during interstitials and chapter break titles. In other words: very little of this show is stereo. None of it is surround. Since this scoring is all archive, probably nothing will hit LFE. What I'm thinking about is mixing the dialog as 3-track mono. Same material on all 3 tracks, maybe -3dB on the center one. The only time L&R will be different is probably during the title and credit. I'm figuring this will give me the best chance of everybody in the front row of the theater hearing a decent track. If I just mix in stereo with phantom center, I'm worried some decoder will decide to suppress the dialog (it's happened before)... or the theater's L&R mains will never be on because everything will be matrixed to the center (ditto). If I encode for the guy's DVD from this LCR master, maybe there's a chance all three front speakers will be talking. And, yes, I'll still try to convince him to pull a DCP. If there's not time for it at the premiere, at least for future exhibitions. Thoughts?
  8. [quoted in its entirety] "Wrong" as a reaction to a specific statement? Are you plugging a song by Depeche Mode or Luh Kel? There are a couple of folks named Wrong in IMDB; are you trying to ping one of them? Or is this a comment about life in general?
  9. Kishor, I applaud your courage trying something new, and wish you luck. I dropped location recording years ago, in favor of post, and it was a good move for me. The thing is, this is a new venture for you. Before you go buying new gear, you should probably get an orientation about what modern post entails. Is there someone who can mentor you or let you apprentice while you're learning? There are a couple of good books on the subject, including mine. Having a ProTools rig that supports picture and lots of tracks, and knowing how to edit dialog on it is a good start. The alternative to a full PT rig seems to be Nuendo, and many posties (myself included) prefer it. There are also cheaper alternatives if you can take the time to work within their limitations. Buying a suite of plug-ins, however, might be a mistake. It depends on your business plan. If you're going after theatrical films or high-end TV, the most important tool -- along with your DAW -- is a room with accurate and predictable monitoring. If you don't have that, you'll more likely be just editing and not processing; quality decisions (even NR) are best left when you're got all the elements in place and are mixing in a good room. If you're aiming lower and will be mixing what you edit, you still need good monitors. You also need a fuller understanding of the entire process, which takes you back to learning: far better to buy what you know you need based on the projects you're getting, rather than guess and buy something because some other postie uses it in their workflow. With that warning: I use Nuendo and the full suite of post-oriented plugins that comes with it. My favorite third-party stuff is the iZotope RX Advanced suite, some Waves' psychoacoustic stuff (mostly harmonic effects), and the ones I cobble together in platforms like the ancient 32-bit SonicBirth. Since my work includes SFX design and placement and have a big library, I've been a SoundMiner enthusiast for more than a decade... but there are alternatives now. As a Mac user, I keep TwistedWave as my quickie 2-track editor/proofer, and SoundGrinder as universal conversion tool. These are just personal opinions, off the top of my head and honed by the specific jobs I'm doing. Expect to hear other opinions. Your ultimate rig may be very different.
  10. In either a plant or a human, that would indicate a persistent vegetative state.
  11. West Palm Beach, FL, has figured out how to use sound for social control (NYT) without relying on HF loss: Baby Sharks. They play the repetitive (^3) children’s song in a loop all night to to keep homeless from sleeping on the grounds of a city-owned pavilion. No comments from people who live near the pavilion. Perhaps their kids are happy. —- I lived in WPB for a few years. I don’t recall us even having sharks in the water while I was there.
  12. Article in today's NYTimes about FBI trying to get info on some Indonesian "producers" who solicit US film people - above and below the line - to work on a gig there. Apparently they're faking everything very wel and research their victims, eventually getting the victim to front money for the trip and then shell out fees and inflated exchanges to locals who are in on the deal. Underlying FBI press release here, dated 7/15. They want to hear from anyone who's been contacted by the scammers. I suspect experienced soundies who have work here won't be tempted. But I also know that's not everybody on JWSound.
  13. Sorry. I checked the specs for 2015 MacBook. As Allen says, analog only. I guess mine mine is from a year or two earlier. My Mini, however, is recent. And I’m using the 1/8” optical every day. Not that this would help your situation.
  14. NPR has a story about Mosquito, a high frequency outdoor generator being used by some 30 cities to discourage teenagers from staying in parks at night. According to the manufacturer's website, Mosquito generates an 18 kHz signal -- at that frequency, presumably a sine (because where would the harmonics live?) -- with an AGC to keep it 5 dB above ambient. No indication whether their AGC looks at broadband or just 18 kHz... but if it's broadband, then the noise is going to be a lot more obvious up there than +5 dB would suggest. According to NPR, "anyone over age 25 is supposed to be immune because, basically, their ear cells have started to die off." Later in the article: "In 2008, the United Nations Committee on the Rights of the Child implored the United Kingdom 'reconsider ... the Mosquito devices insofar as they may violate the rights of children.' No mention of whether it discriminates against golden-eared audiophiles. ---- About fifteen years ago, NPR had a story about a similar device being used in shopping malls to move the kids along... with an on-air sample. AFAIK NPR back then was distributing its news on a 32kHz s/r channel. They also had a downloadable sample so you could listen on better speakers. I remember checking it out: it was low bit mp3 encoded with a 22 kHz s/r.
  15. Check the Sound control panel. If the machine has Toslink capability, it should show you a digital output choice. Then, when you feed it a valid digital signal, you'll see the input choice appear.
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