Mono MiddleI have found that the various ‘unwrap’ programs on reverb units and some plug-ins are a little restrictive in how they deliversurround, so I find that manually creating a Mono centre gives good control of LCR levels and image width.Chris Burdon, Sound Re-recording Mixer, Kick Ass<strong>Audio</strong> <strong>Media</strong>, March 2010mixintheOff The Shelf FoleyA good application for Transient Modulation plug-ins(like the Oxford TransMod) – not in the usual way ofaccentuating attack phases of percussive soundsbut more the opposite – is removing those verytransients by applying the negative range of the scaleof the control.This proves to be especially useful when you haveto add steps to a film scene where there is no timefor a Foley artist to come around and do the job andyou need to refer back to a pre-recorded library.Often the steps in libraries sound like libraries –recorded in another acoustical environment and oftentoo crisp, too clear, or just too percussive. Rather thancutting the high end, which often doesn’t give thedesired result, the TransMod can really help to mouldthe steps to the required scene.Theo Schulte, Product Specialist, Calrec <strong>Audio</strong>Dialogue: Noise KillerIf your role as DialogueEditor encompasses noisereduction, choose yourtools carefully, and don’toverdo it. If you’ve got ahum or buzz at particularfrequencies from ballastsor dimmers on set, asimple notch filter or‘hum/ buzz remover’ maysuffice. Save the broadbandnoise reductionfor across-the-spectrumnoise, as this can leaveunsavoury artefacts ifoverused. Where possibleI use automation on processing rather thanhard-rendering, as it’s easier to tweak in the mix,but if you have to hardrender, always keep a copyof the un- processed audio muted in the tracklay,just in case the mixer needs to go back to theoriginal.Susan Pennington, Dialogue Editor Spool Post, <strong>Audio</strong><strong>Media</strong> Feb 2010TECHNOLOGY FOCUSGenelec’s DSP series builds on technology from the 8000 serieswith the addition of digital networking and an on-boardDigital Signal Processor. A network of upto 30 loudspeakers can be created and controlledfrom within the Genelec loudspeaker managersoftware. Having done so, users can harnessAutoCal to improve problems in the loudspeakerroom response. AutoCal uses a microphone tomeasure every loudspeaker and subwoofer onthe network and calibrate them individuallyor as a system for any given listening point.This capability makes the system particularlyuseful in rooms with minimal acoustic treatment.It is also useful when moving between facilities, asthe same room response can be guaranteed in each location.www.genelec.comDescriptorIn sound design, start with a sound, thenadd adjectives.Mark Yend and Kristofor Mellroth, MGS CentralStudios, Speaking At Develop Conference 201120AUDIO MEDIA AUGUST 2011
<strong>Audio</strong> Encoding Changed for GoodOld way to encode audioNew way to encode audioReal Time Codec AuditioningThe Sonnox Fraunhofer Pro-Codec makes it possible, forthe fi rst time, to audition and encode to multiple formats inreal time within a DAW environment. Maximum fi delity isassured, as the Pro-Codec helps create compensated mixesoptimized towards specifi c target codecs for fi nal coding andonline distribution.• All major codecs supported: mp3, AAC, lossless codecs etc.• Comprehensive auditioning with glitchless switching• AB and ABX mode for blind statistical testing• High resolution display and extensive metering• Real time encoding, plus offl ine encoding and decodingFor more details and a free demo visit:www.sonnoxplugins.com/procodec
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