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Ty Ford

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About Ty Ford

  • Rank
    Hero Member
  • Birthday January 1

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  • Location
    Baltimore, MD
  • Interests
    small hand guns, acoustic guitars, roller skating, videography and, um AUDIO.
  • About
    My mother bought me my first tape recorder when I was nine. I spent 17 in major market radio, handling the writing, voicing and production of hundreds if not thousands of commercials and promo announcements. I also began producing local bands.<br />
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    In 1986, I left broadcasting to pursue writing, audio production and talent work. I also began writing articles for magazines and web sites. I am currently a forum leader for the Creative Cow Audio Forum.<br />
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    As a guitar player, music production has always been a part of my life. In 2000, I began to attract the attention of local singer/songwriters. Helping them create their music has been a very rewarding part of my life. I mix live sound and work as a location audio recorder and mixer for film and video shoots. More information about my location audio work can be found here. <br />
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    I began shooting and editing video in 2005. I’ve written two books; “Advanced Audio Production Techniques” and “Ty Ford’s Audio Bootcamp Field Guide.” Info on my field guide can be found here. Another book is in the works.<br />
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    I re-wrote the NAB’s handbook on radio commercial copywriting and have twice updated the microphone chapter in the weighty NAB Engineering Handbook.<br />
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    Google “Ty Ford”...Audio...Talent and you’ll find more than you want to know. Also try www.tyford.com.<br />
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    Following a brain stem stroke in 2007, which passed though with no damage, I took a course in Chakra Balancing. In early 2009, I became a certified Chakra Balancer and Subtle Energy Therapist. More about that here. I also have a Facebook page for this practice. <br />
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    I am never bored. :)
  • Interested in Sound for Picture

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  1. John's right, of course. To add to it, a lot depends on how loud you speak. I had a friend send me a file that he tried to submit to a production house. They told him there was some sort of phasing they didn't like. He didn't know hat that meant. He sent the file. Yes, you could hear the space in a very unflattering way. Why this time? Because he raised his voice. The more energy you put into a space, the more resonant it becomes. Think of a pool table and one cue ball. The harder you throw it the longer it will bounce around on the table. Same thing with voices and spaces. Speaking more quietly, you don't excite the room into resonance as much. Regards, Ty Ford
  2. My Dear Friend Constantin, How nice to see you out here. When I saw the cost this time, I had much the same impression! I'll have to find it a nicer storage place for it in my studio!
  3. Hi Jim, I've had one of these for my two CMC641. They work great for me for recording a madrigal group in a church and various other musical assignments in which I only wanted a great stereo pair. I occasionally cheat the angle using headphones to get the "space" I'm looking for, but it's nice to have the numbers there. I can use the B5D covers on the CMC641 and flop the mics in the brackets so the tips are very close together. Although I haven't tried to use it vertically, one end is threaded for that purpose. https://bhpho.to/3aeEHDK Best Regards, Ty
  4. Hello Hive, I was wondering if there had been any discussions about two wire and three wire lavs in wireless or hard wired use and whether three wire lavs were any better at blocking cell phone interference. Thanks, Ty Ford
  5. heh, heh, heh, yeah, but I'd still like one.
  6. My review from August 2016. https://tyfordaudiovideo.blogspot.com/2016/08/the-cedar-dns-2-portable-dialog-noise.html
  7. The Neumann RSM191 is a great stereo mic, btw. I reviewed it some years ago. Here's my review.. https://www.dropbox.com/s/chd8uish1fqow8x/Neumann_RSM191.rtf?dl=0 Regards, Ty Ford
  8. I think it depends much on the ambient environment in which you find yourself and what you want to record in it. Do you want the ambience or something IN the ambience? I recorded an outside ambience some years back with an Audio-Technica BP4025 stereo mic. https://www.audio-technica.com/cms/wired_mics/5bbed15003fe56a2/index.html You have to be careful when using two or more mics that phase coherence doesn't spoil your day. I like the BP4025 because of the phase coherence of the XY pattern and the large diaphragm capsules had very low selfnoise. Also, it's a stereo mic; everything in one body. Ambi08.wav If the upload doesn't work, here's a link: https://freesound.org/people/Ty Ford/sounds/116660/ When I recorded Madrigal singers in a large church, there was no congregation so I din't have to worry about their noise or getting in their way. I used a pair of Schoeps CMC641 mostly in coincident XY. Tight pattern. For each piece they sang, I listened on headphones, If the tempo was faster, I had to move the mics closer so the room ring didn't make things blurry. Slow tempo? Move the mics back a bit and let the sustain from the room ring work more. Ambi08.wav
  9. I sent one in years ago and they used heat shrink. Not quite as flexible, of course, but works fine today.
  10. or, more specifically,at a distance so you can hear how tight the mic pattern is and how much room it hears.
  11. Knob position doesn't do it for me on my 664. Where are you peaking the 633? Regards, Ty Ford
  12. --- 2019 ARSC CONFERENCE: PORTLAND, OREGON ------ HOTEL RESERVATION DEADLINE: APRIL 12 ------ EARLY REGISTRATION DEADLINE: APRIL 19 ---Please join us for the 53rd annual ARSC conference, May 8-11, 2019. The conference programs will take place at The Benson, an historic hotel in downtown Portland, Oregon, which is within striking distance of several of the city's many record stores and Powell's City of Books.April 12 is the deadline to reserve a room at The Benson at the special conference rate. We recommend booking as soon as possible, since the ARSC room block may be sold out prior to the deadline. Please also note that the guest amenity fee of $25 listed on other websites DOES NOT APPLY to the ARSC group rate. To avoid this fee, you must make your reservation by phone or online using the link on the ARSC conference website.For more information about the hotel, room rates, and reservations:http://www.arsc-audio.org/conference/2019/hotel.pdfApril 19 is the deadline for discounted rates for conference registration.After that date, registration fees increase.For online registration:http://www.arsc-audio.org/conference/register/April 19 is also the deadline for discounted rates for the May 8 pre-conference workshop, "All Things Digital: Digital Audio Workstation Basics." The full-day, hands-on workshop will give attendees a practical overview of digital audio workstation use for archival applications.For a complete description of the workshop:http://www.arsc-audio.org/conference/2019/ARSC2019_workshop.pdfFor the updated preliminary schedule:http://www.arsc-audio.org/conference/2019/ARSC2019_Program_Schedule.pdfConference presentation abstracts are now available:http://www.arsc-audio.org/conference/2019/ARSC2019_Program_Abstracts.pdfFirst-time attendees are invited to attend a Newcomer Orientation and participate in the Conference Mentoring Program during the ARSC Conference.Sign up here:https://www.surveymonkey.com/r/SR7RLK2Conference program highlights include:-- Opening Plenary Session, "The Music Modernization Act and You: Discussion and Celebration" featuring Tim Brooks, Eric J. Harbeson, and the Internet Archive's Brewster Kahle and Derek Fukumori.-- "Recent Developments in Audio Retrieval via Optical Methods," featuring an international panel of experts.-- Pacific Northwest-related presentations on The Wailers; Mel Blanc; Phil Moore; radio stations KBOO and KEXP; "Scandihoovian" dialect singers; Portland's DIY punk scene (featuring Mike Lastra); music of Alaskan Interior Athabaskan communities; plus noted Oregon collector John Tefteller on rare radio recordings by Laurel & Hardy.-- Topical sessions touch upon the Black Swan label; Mahalia Jackson; The Nat Turner Rebellion; Roosevelt Sykes; Twin-Six guitarist Jack Penewell; recordings of concert spirituals; rare recordings of Mahatma Gandhi; the roots of the folk music revival; Yiddish audio collections; and the WBAI show "Radio Unnameable."-- Other technical sessions include a discussion on how to leverage mass digitization projects; the preservation and playback of lacquer discs; using PBCore metadata; and recent developments in the transfer of wire, Dictabelt, and Magnabelt recordings.-- Evening sessions open to the general public, with no admission, include:Thursday: "Ask the Technical Committee" and "Q&A with Discog's Kevin Lewandowski" (tentative).Friday: Collectors' Roundtable, where local collectors are invited to bring a crate of records they would like to sell or trade, and/or a record or two for discussion (a turntable will be provided).On Thursday, the Women in Recorded Sound Social will take place from 5:30p.m.-7:00 p.m. (location TBA; attendees pay their own tab).Last, but not least, please consider making a donation to the ARSC Silent Auction.Details are here:http://www.arsc-audio.org/conference/2019/ARSC2019_Silent_Auction.pdfThe Association for Recorded Sound Collections is a nonprofit organization dedicated to the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. ARSC is unique in bringing together private individuals and institutional professionals -- everyone with a serious interest in recorded sound.
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