Gordon Hempton has a new post up on his blog about recording rain and thunder that is well worth checking out:
Winds may be among the most difficult nature sounds to record, but Thunder & Rain are surely among the most risky. A microphone amid a thunderstorm is for all practical purposes a lightning rod. Here, I will draw upon three decades of experience recording in one of the wettest places in the world–the rainforests of the Olympic Peninsula, Washington, and share tips to keep you safe and your equipment running.
Continue reading the article here.
Also, now’s a good time to make use of the “OneSquareInch” coupon code on the Quiet Planet website. Between now and November 30th, it will get you 25% off. The coupon code is still valid after the 30th, but the discount drops to 10%. And in a very cool twist…10% of all proceeds from the sale of their sound libraries go to conservation efforts around the world.
This great short film on sound and the experiences of a sound designer Justin Boyd comes via the Audible Worlds forum.
There is fantastic attention to detail here in terms of both the recordings and the process. The film also demonstrates the very personal relationship that we all have to the sound environment, and the individual ways in which sound designers and recordists chooses to express it.
My first exposure to noise reduction processing was with Waves X-Noise, working clip-by-clip, finding a snippet of noise in the clear, setting the noise profile, then processing the clip before moving to the next one. This offline processing method, while effective, would end up taking a lot of time, especially on long-form projects. Similarly, if you had a processed clip that needed its noise reduction altered, you would have to restore the un-processed version, find the noise print again, re-adjust the parameters, and then re-process it. When time is short (and when isn’t it?), real-time processes begin to look like a much better option. Unfortunately, plugins like X-Noise or iZotope RX Denoiser can’t be used effectively in real-time due to the enormous amounts of processing overhead required and the unmanageable latency added to the signal. With plugins like the new RX 3 Dialog Denoiser and Wave’s WNS and W43, real-time noise processing without expensive hardware is feasible, but it requires a change in workflow to utilize effectively. As I found once I started using the RX 3 Dialog Denoiser, putting one per dialog track was an inefficient use of CPU resources, and simply putting an instance on the main dialog bus proved problematic, especially when dealing with adjacent clips that had drastically different noise profiles. Read More
Highly influential electronic composer Bernard Parmegiani – a key member of Paris’ iconic Groupe de Recherches Musicales (GRM), and a major figure in the development of 20th century electroacoustic music – has passed away.
Parmegiani belongs to to the same pantheon as Luc Ferrari and François Bayle – groundbreaking French composers, operating in the orbit of musique concrète figurehead Pierre Schaeffer, who helped clear the ground for the following half-century of appropriative musical practice. He passed away earlier today, age 86; a cause of death has yet to be officially confirmed.
Parmegiani began his creative life working as a sound engineer for French television (although, famously, he also spent time training as a mime artist with Jacques Lecoq) in the late 1950s. Having caught the attention of Schaeffer, he enlisted at the GRM – a notable hub of composers investigating the burgeoning field of musique concrète, and the epicentre of European electronic music practice at the time – and began working as a composer proper.
After an exploratory 1960s (see free jazz-inspired tape piece Jazzex), Parmegiani’s work came into its own in the 1970s. The decade saw him produce his definitive work, 1975′s De Natura Sonorum – an ingenious juxtaposition of natural and synthetic sound sources, and undoubtedly one of the most important pieces in the history of electroacoustic music. Subsequent compositions of note include 1977′s fluent sound collage Dedans-Dehors, sprawling mid 1980s work La Creation du Monde, and a string of computer-based compositions (Rouge-Mort, Exercisme 3) in the 1980s and 1990s. His many compositions over five decades include works with dance, theatre and performance art groups, and, despite his advanced years, he kept composing well into the new millennium.
VIA FACT Magazine.
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