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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. Knob position doesn't do it for me on my 664. Where are you peaking the 633? Regards, Ty Ford
  2. --- 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.
  3. Ty Ford

    Deity Connect

    what about latency?
  4. I may be helping a friend create some dramatic radio programs and Foley files will probably be needed. Any ideas on good, better, best, cheap? New/ Used? My thought is that having (or putting) them on a HD so they can be called up and previewed easily in Pro Tools would help.
  5. Hahaha, a great thread! 😀 When I first heard the 8050, I stopped because it was more "sizzle and boom" (LF and HF) than I wanted. Maybe the response of the 8060 is different. Spekter, when you compare the 416 to the NT1A, are you doing real work or just listening for selfnoise? When doing real work, if the self noise is a problem, then move on, but don't sell your MKH416. You may come running back to it.
  6. I've been thinking about this recently and......I think if we continue to hold onto this thought that "sound gets no respect" that it will only continue the problem. I have a soundie friend. We were talking about a local producer. He had NOTHING good to say about him, especially how he acts with him, e.g. - No Respect. I've worked for this producer and have never had a problem. So, the question is, WTF? Is it something I do or don't do? Is it something my soundie friend does or doesn't do? I don't know, but I'd like to open this up and see if we can come up with answers. It's probably two-sided. Something we're doing or saying, they way we react, and also something they are doing and saying to which those of us who perceive this problem respond. Can others chime in here? What are your experiences? What do you do if you find yourself in a bad situation with a producer, lighting person or whatever? I've done local, mostly small budget work, spots, non-broadcast and small budget narratives. No major union work. I am hired by people I know and by people I don't know. I'm not sure that has anything to do with it. Procedurally, I let the producer tell me what he/she is going after and how they would like me to proceed. If I hear something in a take that's a problem, how do I relate it to the producer? Do I say something to them, is it a look or maybe just a head shake from me that says, "no?" If it's questionable, and I'm the only one hearing the sound, I'll ask the producer to listen to the take. This gets me out trouble if someone later has a problem with the sound. If the producer says, "no, that's ok. I don't want to hear the take." I tell them that they really need to because I don't want to run into problems later. Again, most of my work is non-union so after I get set, I'll ask if anyone else needs help. Typically they don't, sometimes they do, but just asking sends a message of willingness and teamwork. Is this a problem for everyone? What do you think we can do to solve this problem?
  7. Hmmm, a lav's placement can noticeably effect the sound, even on the same person. In some cases, wouldn't you be trying to improve the sound from a particular scene so that it matches "better sound" from a previous scene, or maybe the next scene? As in, not using a lav in a scene even though one was used because it definitely doesn't match the boom used before or after? Regards, Ty Ford
  8. I suggest a change of medications? Regards, Ty Ford
  9. They were working on this just before IBC. I don't know where they ended up. Regards Ty Ford
  10. I own some. I am sent some for review. I am lent some when it comes to making comparisons. Yes, having them in your own hands (in the flesh) is a wonderful thing. If you can get a good reputation with a retailer, they will sometimes send you a mic to compare. I mostly deal with manufacturers and distributors. If you're in NYC, B&H has a microphone room in their Manhattan store. It's a very dangerous place.
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