There’s a great little article over on The Pro Audio Files exploring the difference between Linear and Minimum Phase EQ’s. I’ve been lucky enough to talk about it with some people far smarter than I am at AES conventions, and the article provides a concise but pointed introduction to the subject.
One of the most popular searches relating to linear-phase EQ on Google is “linear-phase explained,” which still holds very poor results. After the search, I was still grasping at straws. I said “to hell with it,” and held my own experimentation.
I created a new Pro Tools session with an oscillator at 1 kHz and line level running separately through a minimum-phase EQ plug-in and a linear-phase EQ plug-in. I recorded the results and was astounded by the differences when I boosted or cut frequencies at any bandwidth or frequency.
If the great SoundWorks Collection profile wasn’t enough, now there’s a 4-part article at Mix Magazine, featuring Gary Rydstrom talking about the sound of “War Horse”.
“When I saw it, I was amazed how old-fashioned it felt, in a good way,” comments Gary Rydstrom, who was co-supervising sound editor (with Richard Hymns), sound designer and FX re-recording mixer for the film. “So many modern movies tend to have more edge or sarcasm or self-awareness, and this is telling a very big story in an episodic way. It’s traveling long distances and meeting a lot of different characters. It has a David Lean grandness.
“It’s a story about humanity surviving in the midst of war, told through how people relate to horses, really,” he continues. “It has a beauty to it that’s fitting and also a real emotional power. I had never worked on a movie quite like this. For me, it felt like I was able to get into a time machine and do a movie in 1960, but with Pro Tools and digital consoles.” [Laughs]
HUGE voter turnout for this challenge, which I’m very happy to see. It came down to a race between Saro Sahihi and Chris Fox, with Saro edging ahead by a mere 8 votes at the close of the poll! One final thanks to Colin Hart and Hart FX for sponsoring this challenge.
New profile by SoundWorks Collection, featuring sound designer Gary Rydstrom and composer John Williams talking about the sound and music of “War Horse”.
From director Steven Spielberg comes “War Horse,” an epic adventure for audiences of all ages. Set against a sweeping canvas of rural England and Europe during the First World War, “War Horse” begins with the remarkable friendship between a horse named Joey and a young man called Albert, who tames and trains him.
When they are forcefully parted, the film follows the extraordinary journey of the horse as he moves through the war, changing and inspiring the lives of all those he meets—British cavalry, German soldiers, and a French farmer and his granddaughter—before the story reaches its emotional climax in the heart of No Man’s Land.
In the exclusive SoundWorks Collection video we talk with Sound Designer and Re-recording Mixer Gary Rydstrom and Composer John Williams.
June’s featured sound designer, Coll Anderson, has just released a new sound effects library. Imagine if someone followed you around your house all day and recorded everything you did, and every sound created by those things you interacted with. You now have a pretty good idea of the content of this library, titled “House.” 3 Gigs, 279 files, recorded at 24/96 and lots of variations.
Coll also mentions, and I quote:
“A small aside, for those of you interested, and who know my relationship with Audio Ease…One of the next few IRʼs drops might (like that, “might”) include all sorts of IRʼs from the house this library was recorded in. Might.”
That’s of course referring to Altiverb, which would provide a pretty unique integration between this library and available reverbs if it happens.
Head over to Coll’s website to preview sounds and get full details about the library.