1480 461555 E-mail: a.brown@audiomedia.com
1480 461555 E-mail: a.brown@audiomedia.com
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leader<br />
Sound, of itself, is not a thing. It's a small set of stuff and madness<br />
that we call sound. And even when you do treat it as a thing, it's<br />
such a simple one that you sometimes wonder how it is it's kept<br />
us amused for so long. It's a bit like dentists – they study for years and all<br />
they really have to worry about is a small white thing; how hard can that be?<br />
The sheer variety of sound that has been realised into the atmosphere so<br />
far is staggering, and it keeps on <strong>com</strong>ing. My brain has trouble connecting<br />
a small, unassuming wiggle in the air to that myriad of tones, soundscapes,<br />
ambiences, and phonic miscellany that fill our audible environment. You<br />
can't leap from one to the other – you have to take baby-steps in your head.<br />
Even then you might end up with a very <strong>com</strong>plicated virtual patch with<br />
distortions, resonances, envelope filters, and effects galore to help you on<br />
your way.<br />
So can you imagine going from silence into a world with only the contents<br />
of a well-stocked recording and production facility to help? What does that<br />
world sound like? I'm willing to bet that everyone's is different, and much<br />
of the processes were different too. It's just bonkers that we can create such<br />
variety by wibbling the air in a certain way. It's only air.<br />
Sculptors can turn a single variety of mud into a representation of<br />
any object; painters can turn a few colours into fabulous landscapes and<br />
portraits; modern artists can turn piles of rubbish… into piles of rubbish<br />
(okay, they don't count) – but there are many more similar examples of<br />
simple raw materials be<strong>com</strong>ing incredibly sophisticated things with the<br />
expert application of knowledge, experience, and great tools.<br />
And this describes almost exactly what sound designers, engineers,<br />
producers, sound editors, and everyone else who makes a living for audio<br />
production do every day. Nice.<br />
Don't forget to enter our <strong>com</strong>petition to win super-passes to the Develop<br />
Conference in July, or simply sign up for the audio track – it never fails to<br />
inspire.<br />
Paul Mac, Editor<br />
REVIEW<br />
Focusrite Scarlett 8i6 42<br />
RUSHES<br />
Rycote Portable Audio Kit 25<br />
RUSHES<br />
Sennheiser HD800 26<br />
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© 2011 IMAS Publishing (UK) Limited. All rights reserved.<br />
*Within Broadcast & Production<br />
FEATURE<br />
Audiorama 48<br />
ADVERTISERS INDEX<br />
ADAM Audio 10<br />
AES 45<br />
AKG 21<br />
Audio-Technica 51<br />
CAD 40<br />
DAD 26<br />
Develop Conference 16<br />
Focusrite 27<br />
Fostex 25<br />
HHB 9<br />
Merging 37<br />
Midas 60<br />
PreSonus 23<br />
Prism Sound 19, 47<br />
Radial 59<br />
Richmond 8<br />
Riedel 13, 15, 17<br />
Sonic Distribution 3, 5, 33, 49<br />
Sonnox 11<br />
Telefunken 46<br />
Yamaha 39<br />
4<br />
AUDIO MEDIA JUNE 2011
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