Jump to content

Ty Ford

  • Content Count

  • Joined

  • Last visited

1 Follower

About Ty Ford

  • Rank
    Hero Member
  • Birthday January 1

Contact Methods

  • Website URL
  • Skype

Profile Information

  • Location
    Baltimore, MD
  • Interests
    small hand guns, acoustic guitars, roller skating, videography and, um AUDIO.
  • Interested in Sound for Picture
  • 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 />
    <br />
    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 />
    <br />
    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 />
    <br />
    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 />
    <br />
    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 />
    <br />
    Google “Ty Ford”...Audio...Talent and you’ll find more than you want to know. Also try www.tyford.com.<br />
    <br />
    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 />
    <br />
    I am never bored. :)

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Ty Ford

    Deity Connect

    what about latency?
  2. 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.
  3. 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.
  4. 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?
  5. 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
  6. I suggest a change of medications? Regards, Ty Ford
  7. They were working on this just before IBC. I don't know where they ended up. Regards Ty Ford
  8. 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.
  9. Ty Ford

    Lavs for ties

    Jan McLaughlin has a good trick.
  10. Yes, I have tested the Octava/Oktava, Audix and AT. Both of the latter are good. Not as good as a Schoeps, but better than the Octava/Oktava. You really need to hear them, including the Schoeps and DPA. Although they all look more or less alike, they don't sound alike. If you can't tell the difference, then, fine. If you can tell the difference......
  11. Well put, Phil. Cambob, what have you been using all this time to have an Oktava/Octava be your "first real mic" and what are you shooting on? The fact that B&H doesn't even carry Oktava/Octava mics should be a good warning. They do carry the Audix SCX-1HC https://bhpho.to/2QOINcs which is a step above the Oktava, as is the AT 4053b. https://bhpho.to/2xFajjP A lot has to do with how well your ears and brain process sound. People who do sound for a living (and are still doing it) usually hear differently than those who don't. There is a learning curve, but some begin higher on it than others. Still others never get there. Regards, Ty
  • Create New...