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The live stream is embedded below, but you’ll want to head over to our Google+ page if you want to ask our panelists any questions at the end of the presentation. As a reminder, our panelists include:
And remember, we keep recordings of all of our past webinars! Here’s a handy link to the archive.
When I saw/heard Gravity last year it set me of on an exploration of dialogue panning to such an extent that I experimented with some fairly extreme panning in the film I was working on at the time. My experiment proved to be, well, inconclusive at best. So I went back to Gravity to see just how the panning worked within the context of the film, then decided to look beyond it and discovered some interesting dialogue panning going on in Cars (2006) and Strange Days (1995) as well. Read More
Guest Contribution by René Coronado
I’m very proud to announce the launch of the new sister site to echo | collective - echo | collective: fields!
The fields project will take me out of the comfortable confines of the studio and have me in the real world gathering ambiences and other sounds in high res surround.
We launched with three libraries: pro hockey ambiences, hospital ambiences, and Texas rodeos and ranches.
I’d love to talk a bit about the biggest of the three libraries – Pro Hockey Ambiences.
Randy Coppinger has been dealing with voice and microphones for over sixteen years and is currently Dialog Production Supervisor at Disney Publishing Worldwide. He is active on twitter and his blog with studio anecdotes and thoughts concerning asset management, microphones, acoustics, recording and anything else related to audio and voice. In this interview we tackle topics ranging from microphones to voice talent, organisation and quality.
DS: Randy, thanks for giving us your time. Let’s start with your background. What got you started?
Thanks for asking me. It’s an honor and pleasure to share with you.
I was fascinated with my father’s reel-to-reel tape recorder as a child, which seems like the beginning of my love for audio production (I still have the Astatic microphones he used to record his singing quartet). When I was in college I worked at the radio station as a DJ, and eventually a student leader for all of our audio production. I became interested in the people who put the music on the discs we were spinning, which lead to an internship at a recording studio here in Southern California. I started out answering the phone and making coffee in the evenings. Then one fateful evening after all of the sessions ended my mentor, Chris Austin, poked her head around corner and asked me, “Would you help me put the microphones away?” After a few times striking mikes I learned their names and where they were stored. That meant I could also help get microphones for setups. Doing those setups allowed me to learn how each of the engineers positioned microphones for different instruments. I became a full time employee, assisting on sessions and learning from all of these talented people who worked at the studio. Eventually I was engineering my own sessions, and audio post production had become an important revenue stream for the studio including working on some of the early DAWs.
SoundSelf is trailed as an interactive and meditated experience in which gamers use their voice, actually their chanting voice, to navigate through the gaming environment. Wired Magazine has an interview…
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…
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…
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…