Sound designer and recordist Charles Mayne has written a passionate and inspiring guest post for the A Sound Effect blog. He gives his thoughts on the key notions and ideas that affects sound design, and which have the greatest capacity to produce – in his words – great sound design.
Check out the article here and contribute to the debate.
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.
Guest Contribution by Steven Klein
There are many reasons for conflicting viewpoints and misinformation on studio design / acoustics. This article will examine components contributing to the confusion along with some advice on how to avoid common pitfalls.
(Merriam-Webster Dictionary: the inherent unpredictability in the behavior of a complex natural system.)
We must first realize that science is challenged by chaos. I present the thesis that talent supersedes everything. Since this is immensely abstract and unknowable where it fits in the analysis, chaos is exposed. Talented people will work in the worst conditions and have great results. The untalented can work in the greatest environments and never produce. There is an ambivalent conclusion for what works.
The reality that great music/production can come from adverse conditions leads one away from the true objective science of acoustics and physics.
ambiances, plural; ambiences, plural
- The character and atmosphere of a place
– the relaxed ambience of the cocktail lounge is popular with guests
- Background noise added to a musical recording to give the impression that it was recorded live
Wherever you may be reading this article, stop whatever you are doing, and listen to your environment. What do you hear? Tempting as it may be to declare ‘nothing’, the complex cacophony of the world around you is being combined, and fused together in your environment to create the sound of a specific location. The sound of your immediate surroundings is being pulled from all manner of sources such as electrical hums, water pipes, passing traffic, neighbours, the weather and even local wildlife. As indistinct these may be from your perspective, these sounds are still making their way, however faint, into your room, heavily filtered and being reverberated around and off your furnishings to distort them beyond recognition and delivered to your ear as a nondescript, intangible ‘room tone’. Its such a slight sound that many people simply don’t hear it. They hear ‘silence’ (Probably because they haven’t tried to make any recordings there!)
This is a guest article written by Ariel Gross, Audio Director of game development studio Volition Inc, which produces such PC and console titles as the Saint’s Row and Red Faction series. You can view Ariel’s introduction post here.
I Feel Like a Fraud and So Can You!
Every now and then I feel like a fraud. Every now and then I feel like I’m merely masquerading as a professional. Every now then I feel a little bit terrified, and then I see the look in your eyes. Wait, wait. Sorry. That last one was from a Bonnie Tyler song. But here’s the thing. The more I open up about this feeling to others, the more I realize that lots of other people feel this way, and it can be really comforting to know that we’re not alone. And actually, it might just be okay that we feel like frauds. Good, even!
How is it “okay” to be a fraud?
Well, hold your horses there, header. I never said that I am a fraud. I said that I feel like a fraud, and there’s a big difference. I’ve never claimed credit for something that I didn’t actually do. That would make me an actual fraud. If I have done that, it would have been unintentionally, and I would be mortified to find out. I would shout from the tallest mountain that there was an error.
It’s more like a sense of disbelief that I occasionally accomplish things that are actual things. To be clear, actual things are what I’ve always endeavored to do, and I believe that anyone that sets out to do actual things will likely become more capable of doing an actual thing. And that is just fine… for other people.