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Posted by on May 31, 2010 | 2 comments

Steinberg Nuendo 5 Now Shipping, with New ADR Toolset, New Video Engine, Better File Management and More

Steinberg has released the fifth version of his acclaimed post-production DAW solution, Nuendo. The new version has lots of new features, including:

  • ADR Toolset – A new tool for spot and organize recording takes, such as for multiple roles by using a flexible marker track system. All marker tracks can be sorted and filtered in the marker window, which helps the user to keep the overview on the project. Nuendo 5 also reads CMX 3600 EDL lists provided by the video editor as well as exported and imported CSV formatted spotting and ADR lists
  • New Video Engine – Based on QuickTime, with better performance, new settings panel and FireWire playback support on Windows and Mac
  • Clip Packages and Smooth Scrubbing – New tool for organizing sounds in a single package for later use, plus improved scrub wheel
  • New MediaBay – Improved MediaBay with new interface and more options for sound file management
  • Better Compatibility – Enhanced compatibility with Pro Tools audio files and new options for EuuCon connection
  • Better Mixing, Routing and Automation – Better routing system with new more connection options, enhanced automation system, monitor matrix enhancement, automated batch export, wave meters, VariAudio integrated, advanced channel configuration, and more
  • New Plugins – Surround Panner V5, Pitch Driver REVerence Convolution Reverb, PitchCorrect, Surround Matrix Encoder and Decoderand New Generation of VST3 Plugins
  • More Improvements – Enhanced crossfade Editor, editing improvements, redesigned user interface for logical editor, Extralarge display, and more

Steinberg Nuendo 5

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Posted by on May 31, 2010 | 3 comments

Jim Stout Special: Reader Questions

Below are the answers to all the questions that readers made to our fantastic May’s guest Jim Stout.

Designing Sound Reader: Hey Jim, Just wanted to send a note about how much I’ve enjoyed the interviews and topics presented the last few weeks. Great material and information for a budding sound effects editor. Thanks dude,

Jim Stout: Thanks, I’m glad you’ve enjoyed it. It’s been a lot of fun to do.

DSR: Hey Jim, thanks for the videos on explainging how to create atmosphere and organic sounds. I’m amazed by the openlabs neko ex5! It’s awesome and it’s a tool that you can tell it makes your life easier. How easy is to learn to use it? You also mention that you’ll put Kyma into neko. That would create the total sound design tool. When do you think that’ll happen?

JS: The EX 5 is really easy to learn, mainly because of the OpenLabs program that comes on the EX 5 called RIFF. It allows you to layer, stack and configure VST effects in any way you want- and then you can just play them. You can play it on the keys or, if one of the plug-ins or VST instruments has its own clock-based modulation, you can use RIFF to synchronize all of it.

And, I’m going to put a Kyma Pacarana on my Neko ASAP.

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Posted by on May 31, 2010 | 2 comments

The Approach of a Re-Recording Mixing Team

The May-June Issue of MPEG Magazine contains an interesting article about the different approaches of four re-recording mixing teams from Los Angeles and New York.

The re-recording mixing team is an odd phenomenon, common in Los Angeles, rare in New York and almost completely absent in Northern California. Local post-production culture, personal history and the size of the film are all factors, but one thing is for sure: Mixing teams work best when the chemistry is good, the working style is compatible and the size of the job calls for a team approach. Editors Guild Magazine interviewed four mixing teams to see how they operate.

David Giammarco & Paul Massey at Sony Studios, L.A:

This style of working allows each mixer to “focus on the details of their respective departments,” says Giammarco, and then take a step back to concentrate on the overall picture. “If I were one person working alone and getting client input, he would never have a moment to stop, catch his breath and see what he’s doing,” adds Massey. “We bounce ideas off each other all the time and present something that as a team we feel confident about. The mechanics of a mix become easier when you work with all the time. We always feel free to suggest creative ideas to each other.”

Sean Garnhart, freelance, & Cory Melious at Sound Lounge, NY:

Teamwork can create not only an exchange of ideas and creativity but also knowledge. Just as Melious says he’s learned more about sound design from Garnhart, so Garnhart credits effects mixer Doug Hemphill as a mentor. Garnhart supervised editing and designed sound for Ice Age (2002) and Robots (2005), and then did pre-dubs for the movies. “Knowing that Doug was going to mix the finals was intimidating,” says Garnhart. “But his feedback was extremely supportive and priceless. He helped me become the mixer I am today.”

Anna Behlmer & Andy Nelson at 20th Century Fox Studios, L.A:

Teamwork for this pair is a matter of philosophy as well as personality. “We both believe in broad strokes,” explains Nelson. “We never work in small details from the beginning. I need to see the story and the emotional arc. What I like to do is sit back with Anna, and play the music in almost one run. It’s rough, but it immediately tells the story––what the filmmaker wants to achieve. And that opens the whole discussion for what we want to achieve.”

Scott Millan and David Parker at Todd-AO Studios, L.A:

“It would be impossible for the most part to do this as a solo mixer,” says Millan. “As it stands now, David and I have worked on projects where we don’t go home for three days. One person couldn’t physically do it all.” They even occasionally work on smaller films together, such as Taylor Hackford’s Love Ranch (2010). “We jumped on that and maximized the resources,” says Millan. “He’s a loyal client and someone we want to work with as much as we can, so we do the work as smart and cost-effectively as possible.”

Full Article

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Posted by on May 27, 2010 | 2 comments

Psychoacoustics of Non-linear Horror Sound and Music

The Indepentent has published an interesting article talking about the psychoacoustics of non-linear horror sounds and music creations. Let’s read:

It is probably the most scary scene in cinematic history. The shower curtain is drawn back and actress Janet Leigh lets out a spine-chilling scream that warps into a frenzied cacophony of staccato music as she confronts an unseen, dagger-wielding madman.

When Alfred Hitchcock put the soundtrack to his 1960 masterpiece Psycho he was almost certainly unaware that the discordant musical notes he was adding to the disturbing shower scene were in fact based on the sort of non-harmonic sounds used in the distress calls of wild animals.

Scientists have found that many of the emotionally-evocative moments in some of the most popular films are enhanced with a sound score that exploits the human brain’s natural aversion to the “non-linear” sounds widely used in the animal kingdom to express fear and distress.

Continue reading…

Via: @noisejockey

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